THE  ROAD 
TOGETHER 

GEORGE  MIDDLETON 


A/J  /  + 


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HENRY  HOLT  AND  COMPANY 
PUBLISHERS  NEW  YORK 


THE  ROAD  TOGETHER 


A  CONTEMPORANEOUS  DRAMA 
IN  FOUR  ACTS 


BY 

GEORGE  MIDDLETON 


NEW  YORK 

HENRY  HOLT  AND  COMPANY 
1916 


COPYRIGHT  1915,  igi6 

BY 
GEORGE  MIDDLETON 


Copyright  in  Great  Britain  and  Ireland,  and  in  all  countries 
subscribing  to  the  Bern  Convention. 

Published  September,  1916 


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THE  QUINN  A  BOOEN  CO.  PRESS 
RAHWAY,  N.  A. 


SCUDDER  AND  LUCILE 

Who  have  just  started  on  the  road  together 


34, j  • 


PREFACE 

THE  spiritual  level  which  any  marriage  achieves 
depends  largely  upon  the  quality  of  those  who  make  it. 
Whatever  its  social  import,  of  which  few  are  delib 
erately  conscious,  it  is  essentially  an  affair  of  indi 
viduals.  As  they  are  and  as  they  react  to  each  other, 
so  will  the  marriage  be.  Since  it  is  only  in  marriage 
that  society  offers  free  and  complete  expression  between 
them,  it  is  there  that  the  individual  man  and  woman  are 
most  tested,  most  realized,  and  most  offended. 

If  one  considers  the  strangeness  of  sex — with  its 
vagrancy  and  variation — and  the  tremulous  psychic  in 
heritances  which  uncontrollably  veer  our  acts  and  emo 
tions,  one  can  only  have  deep  charity  when  marriage 
ends  in  disillusion,  and  infinite  wonder  when  it  reaches 
rich  fulfilment.  Yet  marriage  endures  somehow  be 
tween  these  two  extremes.  Its  bonds  are  obvious  when 
based  upon  religious  conviction,  the  responsibilities  of 
children,  the  fear  of  admitting  failure,  and  the  pres 
sure  of  convention.  But  the  subtle  and  powerful  bond, 
I  believe,  is  that  which  is  made  by  the  daily  habit  of 
living  together. 

It  is,  in  some  way,  to  picture  the  strength  of  this 
latter  bond  when  opposed  to  the  vagrant  claim  of  sex, 
that  this  present  study  of  a  group  of  individuals  is 
dedicated.  The  resolution  they  attain  is  neither  better 
nor  worse  than  lies  within  their  individual  capacities 


viii  PREFACE 

and  limitations.  I  am  not  concerned  with  any  criticism 
of  what  that  spiritual  level  may  be.  My  object  is  to 
interpret  their  characters  and  the  manner  in  which  they 
finally  realize  themselves  through  the  revelation  of 
their  self-deceptions  under  the  contingencies  of  circum 
stance.  G.  M. 
June  I,  1916. 


THE  ROAD  TOGETHER 


THE  PEOPLE  CONCERNED 

WALLACE  KENT,  the  District  Attorney. 

DORA,  his  wife. 

JULIA  DEERING,  a  novelist. 

TOM  PORTER,  a  retired  banker,  their  intimate  friend. 

FRED  SAFFORD,  formerly  cashier  in  Porter's  bank. 

ARMOR  DEERING,  Julia's  brother;  Kent's  assistant. 

GEORGE  GILMORE,  a  Wall  Street  operator. 

WOODS,  a  butler  at  the  Kents '. 

MAID,  for  Julia. 

A  Waitress  and  two  men — BIDDLE  and  TAINTER, 
friends  of  GILMORE — in  ACT  I.  (These  three  have 
no  dialogue.) 


SCENES 

THE  FIRST  ACT 
At  the  KENTS'.     Early  afternoon. 

THE  SECOND  ACT 
The  same.     Late  the  next  afternoon. 

THE  THIRD  ACT 
JULIA  DEERING'S  Study.     The  same  evening. 

THE  FOURTH  ACT 
At  the  KENTS'.     Morning,  ten  days  later. 

The  action  of  the  play  takes  place,  at  present,  in  a 
large  Eastern  city. 


THE   FIRST  ACT 


THE  FIRST  ACT* 

The  scene  is  a  sort  of  informal  reception  room  at  the 
KENTS'.  Its  furnishings  are  few  but  fine,  intimating 
quiet  extravagance.  The  general  tone  is  soft  green 
with  a  subtle  suggestion  that  the  room  has  been  lived 
in  a  long  while.  There  are  folding-doors  in  back, 
which,  when  open,  disclose  the  dining-room  beyond. 
A  small  door  in  the  left,  at  back,  opens  out  on  the  hall, 
which  apparently  leads  to  the  library  beyond.  The 
general  entrance  for  callers,  opening  on  this  same  hall, 
is  down  stage.  Directly  opposite  this,  on  the  right,  is 
a  deep  bay-window  daintily  curtained.  A  grand  piano, 
with  its  key-board  towards  the  window,  rests  in  the 
alcove  thus  made.  At  the  foot  of  the  piano  stands  a 
lovely  Japanese  screen,  which,  with  several  tall  arti 
ficial  palms,  half  shuts  off  part  of  the  room,  in  an  inti 
mate  cozy-corner  effect.  A  desk-telephone  upon  a 
small  table  between  the  doors,  a  deep  couch  near  the 
center,  and  some  casually  placed  chairs  complete  the 
furnishing.  The  warm  sun  of  an  early  spring  after 
noon  pours  in  the  window  and  dining-room  in  back. 

When  the  curtain  slowly  rises  the  folding  doors  are 

open  disclosing  KENT,  GILMORE,  and  two  other  men — 

BIDDLE  and  TAINTER — at  the  luncheon  table.     They 

are  obviously  absorbed  in  a  conference,  though  they  are 

*  See  copyright  notice  on  back  of  title  page. 

7 


8  THE  ROAD  TOGETHER 

not  heard.  A  maid  waits  upon  them.  There  is  a 
pause. 

WOODS,  a  quiet-mannered  butler,  about  sixty,  enters 
from  back.  He  carries  a  vase  filled  with  large  Amer 
ican  Beauties  which  he  brings  down  into  the  room  and 
places  upon  the  piano.  He  then  goes  back  and  pulls 
the  folding-doors  together,  thus  cutting  the  men  from 
view.  He  goes  out  the  main  door.  There  is  another 
pause.  TOM  PORTER  comes  in,  followed  by  WOODS. 

PORTER  is  a  genial,  lovable  man,  verging  on  fifty, 
with  hair  noticeably  turning  gray.  He  is  observing, 
acute,  and  keenly  sympathetic.  In  spite  of  a  persistent 
cheerfulness  he  suggests  deep  wells  of  feeling.  He  is 
obviously  very  much  at  home. 

PORTER 
You  don't  know  when  Mrs.  Kent  will  be  back? 

WOODS 

Almost  any  time  now,  Mr.  Porter.  Mrs.  Kent's 
lunching  out. 

PORTER 

(Looking  at  clock) 
Um.    Two-thirty.    I'll  wait  a  few  moments,  Woods. 

WOODS 

(Taking  his  hat  and  coat) 

Very  good,  sir.  I'm  sorry  I  can't  tell  Mr.  Kent  that 
you're  here. 


THE  ROAD  TOGETHER  9 

PORTER 
(Surprised) 
He's  at  home? 

WOODS 

Yes,  sir.  Mr.  Kent  telephoned  unexpectedly  after 
Mrs.  Kent  had  gone.  Three  gentlemen  are  lunching 
with  Mr.  Kent,  sir.  (Indicating  dining-room  in  back) 
He  left  word  I  wasn't  to  interrupt  him  under  any 
circumstances. 

PORTER 

Don't  bother  him,  of  course.  (He  lights  a  ciga 
rette)  Political  pot  boiling,  I  suppose? 

WOODS 
Yes,  sir. — Would  you  like  to  wait  upstairs? 

PORTER 

No.  I'll  smoke  a  cigarette  here  and  look  over  the 
paper. 

(  The  telephone  rings  and  WOODS  answers  it.) 

WOODS 

Hello.  No,  Miss  Deering.  (PORTER'S  face 
brightens)  Mrs.  Kent  has  not  come  in  yet.  Yes, 
Miss  Deering.  I'll  tell  her. 

PORTER 
Hold  the  wire. 


io  THE  ROAD  TOGETHER 

WOODS 
Just  a  moment;  Mr.  Porter's  here. 

(WOODS  goes  out  with  PORTER'S  hat  and  over 
coat.) 

PORTER 

(At   the  'phone) 

Hello,  Julia.  I  just  dropped  in  to  see  Dora.  Yes; 
she's  coming  right  back.  What's  that?  Got  to  see  her 
alone?  Ah,  you  can't  scare  me  off  like  that.  Yes. 
Come  over.  I'll  tell  Dora.  Yes;  I'll  wait.  (More 
tenderly)  Julia,  I'll  always  wait.  What's  that?  No, 
Central,  I'm  sorry  that  wasn't  meant  for  you. 

(DORA  KENT  enters.  PORTER  hangs  up  the 
receiver  and  they  greet  each  other  affectionately 
as  old  friends. 

DORA  KENT,  in  spite  of  her  girlish  figure,  is 
nearing  thirty.  Her  obvious  refinement  gently 
colors  a  latent  sense  of  power.  Her  manner, 
though  never  negative,  is  quiet,  reserved,  and  a 
trifle  dependent.  She  wears  a  smart  suit  and 
hat.) 

DORA 

( Good-naturedly ) 
Tom:  I  caught  you. 

PORTER 
Dora,  dear. 

DORA 

You  can't  leave  Julia  a  single  moment,  eh?  Oh, 
don't  deny  it;  I  heard  you. 


THE  ROAD  TOGETHER  11 

PORTER 

Julia  was  'phoning  you  and  like  the  popular  song: 
'I  happened  to  be  there.' 

DORA 

(As  he  helps  her  remove  her  coat) 
Does  she  want  me  to  ring  her? 

PORTER 
No:  she's  coming  right  around. 

DORA 

Good.    I  haven't  seen  her  for  ages.    I  suppose  she's 
absorbed  in  her  new  novel. 

PORTER 

She's  absorbed  in  something,  I  know.     She  says  she 
has  something  to  tell  you — alone. 

DORA 

Tom;  are  congratulations  in  order  at  last? 

PORTER 
(Embarrassed) 
Her  and  me?    Not  yet. 

DORA 

Nonsense.     I  never  thought  a  banker  who'd  beaten 
Wall  Street  would  fall  before  a  woman's  hesitation. 


12  THE  ROAD  TOGETHER 

PORTER 

(With  a  comic  sigh  of  despair) 
Wall  Street's  got  a  system:  Julia's  only  got  tem 
perament. 

DORA 

(Playfully) 
Tom,  exactly  what  is  temperament? 

PORTER 

I  never  was  much  on  genealogy;  but  I  should  say 
temperament  was  certainly  descended  from  St.  Vitus. 

DORA 

(Laughing) 

Tom,  a  lovely  woman  like  Julia  oughtn't  to  be  at 
large. 

PORTER 

That's  why  I'm  trying  to  persuade  her  to  marry  me. 
But  she's  awfully  stubborn. 

DORA 

Don't  hurry  her.  She'll  find  herself.  We  all  do  in 
time.  (He  looks  at  her  enigmatically,  as  she  buries  her 
face  in  the  flowers,  deeply  inhaling  their  fragrance) 
Aren't  they  lovely?  Treated  myself. 

PORTER 
How  you  love  flowers. 


THE  ROAD  TOGETHER  13 

DORA 
Yes ;  like  Lady  Teazle :  when  they're  expensive. 

(She  lifts  the  vase,  and  as  she  turns  to  put  it  in 
the  dining-room,  she  notices  the  folding-doors 
are  closed.) 

PORTER 

Woods  said  Wallace  had  some  men  unexpectedly 
to  lunch. 

DORA 
Did  he  say  who? 

PORTER 

Blessed  if  I  know.    But,  remember,  this  is  the  politi 
cal  season. 

DORA 

(As  she  presses  the  push-button  on  wall) 
Yes:  the  annual  show  of  spring  candidates,  eh? 
Goodness,  I  do  hope  the  politicians  haven't  been  bother 
ing  Wallace  again.  I  can  see  it's  getting  on  his  nerves: 
so  I  get  it.  (Smiling)  Take  my  advice,  Tom:  never  be 
the  wife  of  a  District  Attorney,  if  you  can  help  it. 

PORTER 
(Laughing) 

All  right,  Dora ;  nor  the  wife  of  the  next  Governor, 
either,  eh? 

(He  pats  her  arm  playfully.) 

DORA 

(Casually,  as  WOODS  enters) 
Woods,  did  Mr.  Kent  leave  any  word  for  me? 


H  THE  ROAD  TOGETHER 

WOODS 

No,  Mrs.  Kent.    I  don't  think  he  expected  you  back 
so  early. 

DORA 

Do  you   happen  to  know  who   are  lunching  with 
Mr.  Kent? 

WOODS 

I    believe    it's    Mr.    Biddle,    Mr.    Tainter,    and — 
(Trying  to  recall)  Mr.  Gil — 

PORTER 
(Quickly) 
Gilmore  ? 

WOODS 
Yes,  sir;  that's  the  name. 

PORTER 

(Turning  away  and  concealing  his  surprise) 
Mr.  George  Gilmore,  um — 

DORA 

That's  all,  Woods.     When  they  get  to  the  cigars 
tell  Mr.  Kent  I'm  home. 

PORTER 
Better  also  tell  Mr.  Kent  I'm  here,  too. 


THE  ROAD  TOGETHER  15 

WOODS 
Very  good,  sir. 

(DoRA  is  arranging  the  flowers,  transferring 
some  to  other  vases.  As  WOODS  goes  out,  she 
notices  that  PORTER  is  standing  lost  in  thought.) 

DORA 
What's  the  matter,  Tom  ? 

PORTER 
That's  Tainter  from  up  state,  isn't  it? 

DORA 

I  suppose  so;  but  I  don't  recall  Wallace  ever  met 
him  before. 

PORTER 

Biddle  and  George  Gilmore,  Wall  Street.  (Dubi 
ously)],  don't  like  it,  Dora.  These  fellows  want  some 
thing. 

DORA 

Certainly  they  do :  they're  in  politics.  But  all  they'll 
get  from  Wallace  is  some  of  Letty's  real  home  cooking. 

PORTER 

Well,  I'd  be  a  bit  suspicious  of  them  if  they  hadn't 
come  here  so  openly;  particularly  now  that  Wallace  is 
being  mentioned  for  Governor. 


16  THE  ROAD  TOGETHER 

DORA 

(Confidently) 

Oh,  he'll  know  how  to  handle  them.  And  his  record 
for  his  entire  career  will  make  them  understand  the 
sort  of  man  he  is. 

PORTER 

Of  course,  of  course.  (He  watches  her  a  moment) 
What  a  part  of  his  career  you've  been. 

DORA 

We  have  no  children,  Tom;  so  all  I've  had  to  give 
has  gone  into  that. 

PORTER 
You've  made  it  together. 

DORA 

Yes:  together.  And  I've  been  more  a  part  of  it 
than  even  he  realizes,  haven't  I? 

PORTER 

(  Understanding) 

Much  more.  (He  goes  to  her)  And  Fred  Saf- 
ford? 

DORA 

(With  a  slight  start,  as  her  mood  suddenly  changes) 
Fred  Safford?     (She  pauses  as  he  looks  at  her  in 
question)  Why  should  you  speak  of  him? 


THE  ROAD  TOGETHER  17 

PORTER 
We  seldom  have  since  you  sent  him  away. 

DORA 

I  thought  you  and  Julia  knew  that  I've  never  seen 
nor  heard  from  Fred  since. 

PORTER 

And   you've   never   told   Wallace   any  of   the  par 
ticulars? 

DORA 

What  good  would  it  have  done  to  have  told  him 
anything?     That's  all  over,  Tom. 

(The  doors  in  back  open  and  WALLACE  KENT 
enters ',  closing  them  after  him.  For  a  short 
interval  the  three  men — GiLMORE,  TAINTER, 
and  BIDDLE — are  again  seen  at  the  table,  dis 
cussing  together. 

WALLACE  KENT  is  reserved,  forty,  with  a 
fine  face  and  pleasant  personality.  He  sug 
gests  hidden  force  and  passion,  coupled  with 
considerable  sensitiveness  and  intuition.  He  is 
a  man  not  easily  read.) 

KENT 
Dora,  back  so  early? 

DORA 

(As  they  kiss) 
Oh,   it  was  a  dreadful  bore. 


1 8  THE  ROAD  TOGETHER 

KENT 

Hello,  Tom:  what's  this?  A  self-appointed  investi 
gating  committee? 

DORA 

(Laughing) 

Goodness,  no;  but  perhaps  you  could  tell  us  the 
secret.  I  asked  Woods  who  were  with  you.  Is  it  about 
the  governorship  nomination? 

KENT 
Right,  as  usual. 

PORTER 
And  a  nomination  this  year  means  election  sure. 

KENT 
So  they  say. 

DORA 

( Good-naturedly ) 
Wallace;  Tom  doesn't  like  your  company. 

PORTER 
(Protesting) 
Now,  Dora;  you're  telling  tales  out  of  school. 

KENT 

( Casually  ) 
We're  only  talking  over  the  coming  State  convention. 


THE  ROAD  TOGETHER  19 

DORA 
And  you're  getting  all  shades  of  opinion,  eh? 

KENT 
You  see  the  political  training  she  has  had,  Tom? 

DORA 
Tom  thinks  you  ought  to  be  careful. 

KENT 
Indeed? 

PORTER 

Well,  I  don't  know  much  about  politics,  but  it  isn't 
the  oyster  plants  that  shed  the  pearls. 

DORA 
I  said  you'd  know  how  to  handle  them. 

KENT 

(With  a  slight  touch  of  asperity) 
I'm  not  a  fool,  Tom. 

PORTER 

(Seeing  the  need  of  an  explanation  and  going  to  him 

with   genuine   affection) 

Wallace,  I'm  afraid  I'm  in  bad.  Don't  think  it's  an 
intrusion  on  the  part  of  a  stray  bachelor;  but  we  three 
and  Julia  have  been  pretty  close  these  years  and — 


20  THE  ROAD  TOGETHER 

KENT 

{Seeing  him  hesitate) 
Say  it,  Tom. 

PORTER 

Well,  I'd  hate  to  have  you  get  that  nomination  un 
less  it  came  right,  and  without  any  strings. 

DORA 

(Half-reproachfully) 
Why,  Tom. 

KENT 

Nothing's  to  be  decided  yet ;  but  the  nomination  will 
come  right  or  not  at  all. 

PORTER 

Don't  misunderstand.  I  know  the  pressure  that's 
being  brought  to  bear  on  you  to  delay  that  C.  N.  Y. 
Railroad  case. 

DORA 

Tom,  you  really  must  be  reprimanded.  The  idea 
of  even  thinking  these  gentlemen  have  anything  to  do 
with  that  case. 

KENT 

Tom  means  the  Railroad  crowd  would  do  most  any 
thing  to  get  the  prosecuting  attorney,  eh  ? 

PORTER 

And  those  fellows  have  a  lot  of  friends.  (Taking 
his  hand)  I  just  wanted  to  hear  you  say  it  was  all 
right.  Forgive  me. 


THE  ROAD  TOGETHER  21 

KENT 

Oh,  everybody's  suspicious  of  public  officials  nowa 
days. 

DORA 
(Proudly) 

I'm  not,  Wallace.  (He  smiles  as  she  continues  in 
good  spirits)  But  we  mustn't  deprive  these  gentlemen 
of  your  moral  influence. 

PORTER 
No,  no;  I'm  sure  they  need  it. 

DORA 

Tom  will  stay  here  with  me,  won't  you  ?  He's  wait 
ing  for  Julia. 

KENT 
You're  always  waiting  for  Julia. 

PORTER 
One  of  the  things  I  do  best. 

DORA 

(Over  near  door) 

I  think  this  is  Julia  now.  Stay  a  second,  Wallace, 
and  say  hello. 

(DORA  goes  out.) 

PORTER 

Can  you  hear  my  heart  jumping?  I'll  never  need 
digitalis  so  long  as  Julia's  in  my  life. 


22  THE  ROAD  TOGETHER 

KENT 

(Trying  to  be  casual) 

May    a    very    unimportant    District   Attorney    ask 
when  it's  coming  off  ? 

PORTER 
Sh!     It's  such  a  secret  even  Julia  doesn't  know  it. 

KENT 
Perhaps  she  feels  a  novelist  shouldn't  marry. 

PORTER 
She's  not  a  real  novelist;  she  has  money. 

(They  laugh  as  the  two  women  outside  are 
heard  greeting  each  other  with  intermingled 
sentences.) 

And  they  both  understand  what  they're  saying. 

(They  enter.  DORA  having  her  arm  affection 
ately  about  JULIA. 

JULIA  DEERING  is  a  contrast  to  DORA.  She 
is  also  about  thirty,  but  with  an  opulent  per 
sonality,  impulsive  and  rather  emotional  in 
speech  and  temperament,  a  bit  assertive  and 
seemingly  independent.  She  is  attractively 
gowned  though  with  a  faint  suggestion  of  the 
unconventional. 

She  halts  suddenly  on  seeing  KENT,  is  slightly 
confused,  but  quickly  recovers  and  goes  to  him.) 


THE  ROAD  TOGETHER  23 

JULIA 

Wallace,  this  is  unexpected.  I  thought  you  were 
downtown. 

KENT 
Sounds  as  though  you've  been  trying  to  avoid  me. 

DORA 
Yes:  it's  been  two  weeks  since  even  I  have  seen  you. 

KENT 

(Indicating  dining-room) 
And  now  I  have  some  hungry  men  waiting. 

DORA 
You  see  he  will  bring  politics  into  the  home. 

JULIA 

I  want  to  see  Dora ;  so  don't  let  me  keep  you.  But 
I  must  thank  you  again  for  letting  my  big  brother  as 
sist  you  in  that  Railroad  case.  I  haven't  told  him  yet, 
as  I  promised. 

KENT 

(  Enigmatically  ) 
I'll  be  glad  to  give  Armor  this  chance  for  your  sake. 

PORTER 
(To  DORA) 
Isn't  that  just  like  Wallace? 


24  THE  ROAD  TOGETHER 

DORA 
When  does  it  go  to  trial? 

KENT 
It's  on  the  calendar  next  week. 

PORTER 
They  certainly  have  delayed  it. 

JULIA 

I'm  so  sorry  I  sha'n't  be  here  to  watch  Armor  per 
form.  He's  so  eager  and  enthusiastic  about  every 
thing. 

DORA 

Surely  you're  not  going  away  ? 

JULIA 
I'm  afraid  so.    I'm  sailing  before  then. 

(They  are  all  surprised.) 

KENT 
You're  going  abroad? 

DORA 
Why,  Julia — no — ? 

JULIA 
Yes;  to  Corfu. 


THE  ROAD  TOGETHER  25 

DORA 
Not  while  the  war's  still  on  ? 

JULIA 

Oh,  I  guess  it  won't  pay  attention  to  me.     (Smil 
ing)  I'm  a  pacifist,  you  know. 

KENT 
But,  Julia,  this  is  all  unexpected,  isn't  it? 

JULIA 

(Avoiding  his  glance) 
I've  been  thinking  for  some  time  it's  best. 

( Throughout  the  following  a  subtle  tenseness, 
beneath  the  surface  talk,  is  obvious.) 

DORA 

Well,  I  know  there's  no  use  trying  to  persuade  you 
how  foolish  it  is,  when  you  once  get  a  notion. 

PORTER 
You're  going  to  stay  long? 

JULIA 
(Vaguely) 
Oh,  a  year  or  so  this  trip. 

DORA 
But  you  will  be  lonely  there. 


26  THE  ROAD  TOGETHER 

JULIA 

(Half  light-heartedly) 
Oh,  no;  I  have  my  work. 

PORTER 
(With  a  sigh) 
The  world  is  full  of  people  who  have  gone  away. 

JULIA 

(To  PORTER) 

But  don't  take  it  so  terribly.  There's  no  reason  to 
be  glum — all  of  you.  Maybe,  Tom,  you  will  come 
and  see  me  when  the  war's  over. 

PORTER 
(Whimsically) 
Shouldn't  wonder  if  I  went  before. 

DORA 
You  may  have  to  charter  a  submarine  to  get  there. 

PORTER 

Then  I'm  glad  I  retired  from  my  bank  and  kept 
some  of  it. 

KENT 
You're  going  alone? 


THE  ROAD  TOGETHER  27 

JULIA 

To  finish  my  novel.    My  publishers  are  getting  im 
patient. 

PORTER 

(Mock  seriously) 
These  restless  women  with  missions  and  no  husbands ! 

JULIA 
But  you  see,  Tom,  I'm  already  wedded  to  my  art. 

PORTER 
Can't  we  find  a  country  where  bigamy's  permitted? 

DORA 

(Laughing) 
How  many  husbands  do  you  think  a  woman  needs? 

PORTER 

Lord !    I  don't  know.    That's  every  woman's  eternal 
mystery. 

(They  laugh  nervously  to  cover  their  varying 
emotions.) 

KENT 

But  you're  not  sailing  right  away? 

JULIA 
I've  got  to  get  my  passports. 


28  THE  ROAD  TOGETHER 

DORA 
Had  your  photograph  taken  and  all  that? 

JULIA 
(Laughing) 
Yes. 

KENT 
It  seems  to  me  you're  taking  chances,  Julia. 

DORA 
Can't  anything  persuade  you  to  stay? 

JULIA 

(Significantly) 

Oh — something  may  turn  up  to  keep  me.  (  Glancing 
covertly  at  DORA)  I'll  know  to-day. 

KENT 

(Shaking  her  hand) 

I'll  see  you  before  you  sail.  If  there's  anything  I 
can  do,  let  me  know. 

DORA 

(Going  back  with  him) 

Have  you  everything  you  wish,  dear?  (He  nods) 
We  won't  disturb  you  here? 

KENT 

Couldn't  hear  a  sound  back  there  if  I  wanted  to. 
Oh,  Tom;  after  what  Julia's  told  us,  are  you  sure 
you  don't  need  a  cocktail? 


THE  ROAD  TOGETHER  29 

PORTER 

No,  Wallace.  I'm  like  the  fellow  who  was  asked  by 
a  musical  hostess  if  he'd  like  a  sonata  before  dinner 
and  he  said  he'd  had  two  on  the  way  uptown. 

(They  laugh  as  DORA  opens  the  doors  in  back 
and  stands  there  a  second  with  KENT.  PORTER 
looks  strangely  at  JULIA  who  is  apparently 
under  some  agitation.  DORA  closes  the  doors, 
comes  down,  then  goes  to  TOM,  shakes  her  head 
indicating  how  sorry  she  is  for  him.  Then  she 
takes  up  her  coat.) 

DORA 

I'll  be  down  in  a  moment.  I  must  take  off  my  hat 
which  won't  come  off  by  itself.  (Closer,  on  second 
thought]  Julia;  what's  the  reason  you're  going  away? 

PORTER 

She's  afraid  she'll  spoil  me  if  she  stays  and  marries 
me. 

DORA 

Something  may  come  up  to  keep  you,  you  said. 
(Laughing  good-naturedly)  Well,  I'll  give  you  a  few 
seconds,  Tom,  to  find  out  what  it  is.  (Hesitating) 
Was  this  what  you  really  came  around  to  tell  me? 

JULIA 
Wait  till  you  come  back. 


30  THE  ROAD  TOGETHER 

DORA 

Tom!    Julia!    You  can't  deceive  me,  you  two.    I'm 
afraid  there  is  a  conspiracy  between  you. 

(She  goes  out,  laughing.  JULIA  sinks  into  a 
chair  as  though  she  has  scarcely  been  able  to 
control  herself.  She  obviously  waits  till  DORA 
has  gone.) 

JULIA 

Tom!     (He  comes  to  her)  Fred  Safford  has  come 
back. 

PORTER 
(Astonished) 
Safford! 

JULIA 
Yes.     He's  in  town. 

PORTER 
You've  seen  him  ? 

JULIA 

No.     He  'phoned.     He's  been  here  several  weeks. 
He's  coming  to  see  Dora  this  afternoon. 

PORTER 

(Hardly  able  to  grasp  it) 
To  see  Dora! 


THE  ROAD  TOGETHER  31 

JULIA 

Yes.  He  probably  thought  Wallace  was  downtown. 
I  tried  to  get  him  to  see  me  first;  but  he  wouldn't. 
He  seemed  desperate,  as  though  he'd  been  drinking  or 
something. 

PORTER 
(Realizing) 
Good  God !    She  mustn't  see  him. 

JULIA 
Why  not? 

PORTER 
(Surprised) 
You  ask  me  that? 

JULIA 
He  says  he  has  a  right  to  see  her. 

PORTER 
(Emphatically) 
He  no  longer  has  any  rights  here. 

JULIA 
He  thinks  he  has:  he  still  loves  her. 

PORTER 
(Dismissing  it) 
But  all  that  is  over  with  her. 


32  THE  ROAD  TOGETHER 

JULIA 
Are  you  sure  ? 

PORTER 

Certainly.     (Between  his  teeth}  The  dirty  pup,  to 
come  back. 

JULIA 
(Surprised) 
You  never  said  a  thing  like  that  about  him  before. 

PORTER 

I've   had   my   reason   for   being  silent   about  him. 
(With  a  determined  air)  What's  his  address? 

JULIA 
He  didn't  tell  me. 

PORTER 
That's  like  him.     But  I'll  find  him. 

JULIA 
No;  you  mustn't  stop  him  from  seeing  her. 

PORTER 
(Astonished) 
I  mustn't! 

JULIA 

(Realizing  the  difficulty  of  her  position) 
Wouldn't  it  be  best  if — if  she  found  out  for  sure 
how  she  really  felt? 


THE  ROAD  TOGETHER  33 

PORTER 
(Persistently) 

But  I  tell  you  it's  all  over,  as  far  as  she  is  con 
cerned. 

JULIA 
It  was  mighty  important — once; 

PORTER 

Yes;  of  course,  it  was.  When  she  and  Wallace 
weren't  hitting  it  off.  (Dismissing  it)  That  was  only 
the  usual  let  down  after  a  few  years  of  married  life. 

JULIA 

But  you  seem  to  keep  forgetting  that  Fred  had  come 
into  her  life;  that  she  loved  him. 

PORTER 

No;  I'm  not.  And  she  did  what  she  should  have 
done ;  she  sent  him  away ;  she  thought  of  Wallace — his 
career  and — 

JULIA 
And  not  of  Fred. 

PORTER 

Wallace  loved  her.  He  still  loves  her.  You  know 
that.  (JULIA  turns  away)  Why,  Julia,  you're  her 
very  best  friend;  surely,  you  wouldn't  want  anything 
to  come  between  her  and  Wallace? 


34  THE  ROAD  TOGETHER 

JULIA 
(Quickly) 

Then  you,  too,  are  not  sure  of  how  she  may  still 
feel  toward  Fred? 

PORTER 
I'm  sure  she  mustn't  see  him. 

JULIA 
You'll  prevent  it? 

PORTER 
If  I  can. 

JULIA 

(Desperately) 
Tom;  you — you  mustn't  interfere. 

PORTER 

(Surprised  and  incredulous) 
Julia! 

JULIA 
I  have  my  reasons.     I  can't  explain  to  you. 

PORTER 
(Hurt) 
Can't  explain  to  me! 

JULIA 
Let  me  see  Dora  alone  and  she  can  decide. 


THE  ROAD  TOGETHER  35 

PORTER 
Julia,  your  word  has  always  been  law  to  me. 

JULIA 
Then  please  do  as  I  ask.    Don't — don't  interfere. 

PORTER 

(After  a  pause,  not  understanding) 
Very  well;  if  you  say  so. 

JULIA 
Tom — 

PORTER 

Perhaps  you  women  see  best.  If  she  is  willing  to 
see  him  I  won't  interfere.  (With  quiet  determination) 
But  if  he  tries  to  force  himself  upon  her  against  her 
wish,  I  know  a  way  to  silence  Fred  Safford. 

(DoRA  has  come  in  and  heard  the  last  few 
words.  They  turn  embarrassed  as  she  slowly 
comes  down  and  speaks  very  quietly.) 

DORA 

Tom,  you've  been  speaking  again  about  Fred?  Has 
anything  happened  to  him?  Is  he — ? 

JULIA 
He's  come  back. 

DORA 
Here?     ( JULIA  nods)  Tom,  is  this  true? 


36  THE  ROAD  TOGETHER 

PORTER 
Julia  has  just  told  me. 

DORA 

(As  though  not  understanding) 
But  he  promised — 

JULIA 
(Abruptly) 
He  still  loves  you. 

DORA 

He  still  loves  me? — Too  bad!     Too  bad!     I  had 

hoped  he  would  forget. 

(She  goes  to  chair  and  sits  down.  PORTER  lays 
his  hand  in  appeal  on  JULIA'S  arm  as  though 
asking  silence.  Suddenly  DORA  turns  abruptly.) 

I  understand  now.    He  wants  to  see  me. 

JULIA 
Yes,  he's  coming  here  today. 

PORTER 
Unless— 

DORA 
(Startled) 

No,  no.     He  mustn't  come  here.     (Glancing  back 
where  KENT  is)  I  sha'n't  see  him. 


THE  ROAD  TOGETHER  37 

JULIA 

(In  spite  of  TOM'S  protest) 
Then  at  my  place. 

PORTER 
Julia! 

JULIA 

(To  PORTER) 
Please  leave  me  alone  with  Dora. 

PORTER 

(After  looking  at  JULIA  and  resigned  to  the  situation) 
All  right.     Remember,  I'm  just  around  the  corner, 

if  you  need  me.    I'll  'phone  you  later,  Julia.    Bye-bye, 

Dora.     Let  me  know  what  you  decide.     (Under  his 

breath  as  he  goes  out)  The  pup — 

(DoRA  has  moved  her  hand  across  her  brow  in  a 
bewildered  fashion,  not  noticing  his  last  words. 
PORTER  has  gone  out.  JULIA  makes  sure  the 
door  is  closed  after  him.  She  stands  looking  at 
DORA  for  a  moment.  Then  she  goes  to  DORA 
and  puts  her  hand  affectionately  on  her 
shoulder.) 

JULIA 
(Tenderly) 
You  still  love  Fred? 

DORA 

(Indefinitely) 
Oh,  Julia,  don't! 


38  THE  ROAD  TOGETHER 

JULIA 

See  him.  I'll  arrange  it:  at  my  place.  No  one 
need — 

DORA 
No;  not  if  he  still  loves  me. 

JULIA 

(Moving  away  slightly^ 
You  aren't  afraid,  are  you? 

DORA 
Why  go  over  it  again  ?    What  good  will  it  do  ? 

JULIA 
But  hasn't  he  meant  something  to  you? 

DORA 

Yes.  It  would  mean  something  to  any  woman  when 
a  man  accepts  a  decision  as  bravely  as  he  did.  I've  not 
forgotten.  I've  been  grateful.  But  I  thought  Fred 
knew  it  was  final. 

JULIA 

But  you'll  never  be  sure  of  your  own  feeling  till  you 
see  him  again. 

DORA 

(Slowly  as  though  puzzled) 
Why  do  you  wish  me  to  be  sure  of  my  own  feeling? 


THE  ROAD  TOGETHER  39 

JULIA 

(With  growing  agitation) 
I'd  like  you  to  be  happy. 

DORA 
But  I  am — I  am — as  far  as  I  can  be. 

JULIA 
Then  you  do  fear  to  see  Fred. 

DORA 

No;  I  don't  fear  to  see  him;  but  it  must  stay  as  it 
is  between  us — for  his  own  sake. 

JULIA 
You  also  forget  Fred  loves  you. 

DORA 

I'm  sorry,  sorry. 

JULIA 
Isn't  love  everything? 

DORA 
No;  not  everything. 

JULIA 
It  should  be  in  marriage. 


40  THE  ROAD  TOGETHER 

DORA 

(Looking  at  her) 
You  are  reproaching  me! 

JULIA 
I've  said  nothing  to  make  you  feel  that. 

DORA 

No,  not  in  words:  but  I  feel  your  silent  reproach, 
just  as  I  felt  it  when  I  sent  him  away.  You've  always 
thought  I  should  have  gone  with  him. 

JULIA 
Only  because  I  didn't  want  any  one  to  be  cheated. 

DORA 

Fred  may  have  been  cheated;  but  it  was  the  situa 
tion  not  I  that  made  it  hard  for  him.  I  did  what  was 
right  by  Wallace. 

JULIA 

Did  you? 

. 

DORA 

(Confidently) 

Oh,  yes.  He  needed  me.  A  scandal  would  have 
hurt  his  work — his  political  career.  What  he  has  be 
come  through  me  is  sufficient  proof  I  did  the  right 
thing. 


THE  ROAD  TOGETHER  41 

JULIA 

( Turning  away) 
Success  is  not  always  a  proof  of  what  is  right. 

DORA 

It's  my  justification  for  any  wrong  I  may  have  done 
Fred.  (Going  to  her)  But,  Julia;  why  do  you  insist 
on  my  seeing  him  again?  ( JULIA  is  silent)  We've 
been  so  close  ever  since  we  were  children ;  we've  shared 
all  our  confidences.  But  you've  come  here  now  to  urge 
something  my  whole  instinct  rebels  at.  I  think  I've 
the  right  to  ask  you  for  an  answer. 

JULIA 
I've  told  you. 

DORA 

No.  You  haven't  explained  your  reason  for  want 
ing  it. 

JULIA 
I  can't  explain. 

DORA 

There  must  be  something  more  than  your  considera 
tion  of  me  back  of  this.  There's  some  reason  vital  to 
you. 

JULIA 
No.    I— 


42  THE  ROAD  TOGETHER 

DORA 

(Her  intuitions  now  thoroughly  alert) 
You  didn't  want  any  one  cheated,  you  said.     You 
weren't  thinking  only  of  Fred. 

JULIA 
Dora,  I've  put  myself  in  a  false  position. 

DORA 

Has  this  anything  to  do  with  your  reason  for  going 
away?  (There  is  a  pause)  Julia — has  it? 

JULIA 
Yes. 

DORA 

Something  might  persuade  you  to  stay.  It  is  some 
thing  to  do  with  me.  Have  I  done  you  any  wrong? 
Have  I  cheated  you  in  any  way? 

JULIA 

(Seeing  she  must  face  it) 

I — I  might  at  least  have  had  a  chance  for  happiness, 
if  you  had — 

DORA 
(Quickly) 
If  I  had— what? 

JULIA 

Oh,  all  that's  worst  in  me  is  coming  out.  Please, 
please,  let's  stop. 


THE  ROAD  TOGETHER  43 

DORA 

(Insistently) 
If  I  had  what? 

JULIA 

(Almost  inaudibly) 
If — if  you  had  gone  with  Fred. 

DORA 

(Looking  at  her  in  astonishment  and  stepping  back) 
Julia! 

JULIA 

(Defensively) 
Well,  haven't  you  been  living  a  lie  here? 

DORA 
No! 

JULIA 

Yes,  you  have.     You've  loved  one  man  and  lived 
with  another. 

DORA 

(Scarcely  believing  what  she  has  heard) 
Julia,  Julia,  I  see  it  now.    /  was  in  the  way.    I  am 
still  in  the  way.    That's  why  you  wanted  me  to  go  with 
Fred;  why  you  wish  it  even  now! 

JULIA 
(Quickly) 

Not  go  with  him  now  unless  you  love  him ;  only  give 
yourself  the  test. 


44  THE  ROAD  TOGETHER 

DORA 

(Gazing  incredulously  at  her) 
Julia!     Don't  turn  from  me.    You  mean  you  love 
Wallace? 

(JULIA  tries  to  meet  her  gaze,  then  she  turns 
and  bows  her  head  in  silent  acknowledgment  of 
the  truth.  DORA  looks  at  her  a  long  while, 
then  impulsively  goes  to  her,  clutching  her 
arm.) 
Does  Wallace  know  this  ? 

JULIA 
No.    He  loves  you. 

DORA 

(Releasing  her  hold,  convinced) 
Yes.    He  loves  me. 

JULIA 

I've  been  unkind  to  him.  I've  even  led  him  to  be 
lieve  it  was  Tom.  (Earnestly)  You  know  I've  never 
been  disloyal  to  you. 

DORA 

Yes;  I'm  sure  of  that.  (Still  incredulous)  You  love 
him.  That  explains  much  I  never  understood.  Poor 
Julia! 

JULIA 
You  pity  me? 


THE  ROAD  TOGETHER  45 

DORA 
No;  I  just  understand. 

JULIA 

(Passionately) 

But  I  tell  you,  Dora,  if  Wallace  had  loved  me  I 
wouldn't  have  been  the  coward — 

DORA 
That  I  was?     (Eyeing  her}  I  wonder.     I  wonder. 

JULIA 
(Humbled) 

Oh,  forgive  me,  dear.  I'm  all  impulse  and  selfish 
ness.  I've  suffered  a  lot.  It  broke  my  defenses  just 
now  unexpectedly  seeing  Wallace  and  knowing  I  was 
going  away.  That's  why  I'm  going.  I  can't  stand 
it.  I — forgive  me. 

DORA 

(Very  tenderly,  after  a  pause) 
It's  best  you  go,  for  a  while. 

JULIA 

Yes.  (As  though  thoroughly  ashamed  of  herself) 
But  this  won't  make  a  mess  between  you  and  me  ? 

DORA 
No.     I  haven't  forgotten  all  you  did  for  me — once. 


46  THE  ROAD  TOGETHER 

JULIA 

I  don't  know  what  got  into  me.    It  was  just  the  wild 
chance  that  perhaps — 

DORA 
I'm  not  angry;  only  hurt  a  little  somehow. 

JULIA 
You  ought  never  to  speak  to  me  again. 

DORA 
( Tenderly ) 

Love  makes  us  all  do  foolish  things.    There,  there, 
Julia;  let's  say  no  more  about  it. 

JULIA 

(dfter  a  pause) 
And  Fred? 

DORA 

(Going  to  button  and  pushing  it) 
I  sha'n't  see  him. 

JULIA 
You're  right.     It's  better  all  around.    /'//  tell  him. 

DORA 

(Calmly) 

No ;  I'll  write  him  and  you  will  see  that  he  gets  the 
letter. 


THE  ROAD  TOGETHER  47 

JULIA 
I'll  ask  him  to  go  away. 

DORA 

Yes;  and  tell  him  to  be  a  man.     ( WOODS  enters.) 
Woods,  if  a  Mr.  Safford  should  call — 

WOODS 
I  was  just  going  to  announce  him. 

JULIA 
(Tense) 
But— 

(FRED  SAFFORD  enters  quickly.    They  all  stand 
still  and  silent. 

SAFFORD  is  almost  the  wreck  of  what  was 
once  a  strong,  handsome  man;  his  face  is  worn 
and  dissipated,  mouth  hard  and  fingers  nervous. 
He  is  thirty-eight  but  looks  older.  There  is  a 
very  slight  suggestion  he  has  been  drinking 
which  tends  to  let  down  whatever  reserve  may 
have  been  left.  There  is  only  an  occasional 
flash  of  what  must  have  been  an  old  charm.) 

WOODS 

(After  a  slight  pause) 
Anything    further,    Mrs.    Kent? 


48  THE  ROAD  TOGETHER 

JULIA 

(Relieving  the  situation) 
Will  you  see  if  my  car  is  there. 

WOODS 
Certainly. 

(They  wait  till  WOODS  goes  out.) 

JULIA 

(Goes  to  SAFFORD) 

Hadn't  you  better  come  with  me?  (SAFFORD  mo 
tions  her  aside)  How  you've  changed,  Fred!  (Looks 
at  him  quite  a  while,  half  shrinking)  Dora,  say  good 
bye  to  Wallace.  I  don't  want  to  interrupt  his 
luncheon  with  those  gentlemen. 

(Saying  this  for  SAFFORD  to  know  KENT  is  in 
the  next  room.     SAFFORD  is  surprised  at  this, 
but  apparently  accepts  it.) 
Be  careful,  Fred,  be  careful! 

(DORA  has  stood  as  one  transfixed.  She  has 
not  taken  her  eyes  off  SAFFORD,  who  is  also 
staring  at  her.  JULIA  goes  out  closing  the  door. 
There  is  a  pause:  SAFFORD  takes  a  few  steps 
nearer  to  her,  hesitates,  then  slowly  goes  to  her, 
as  if  to  embrace  her.  She  instinctively  puts  her 
arms  between  them,  pushes  him  back,  breaking 
from  him  and  silencing  him.  He  halts,  half  in 
query.  They  play  the  whole  scene  with  a  quiet 
intensity  as  though  afraid  of  an  impending  in 
terruption  from  KENT.) 


THE  ROAD  TOGETHER  49 

DORA 
What  do  you  mean  by  coming  here? 

SAFFORD 
I  thought  you'd  be  alone. 

DORA 
But  why  did  you  break  your  promise? 

SAFFORD 
(Surprised) 
You  don't  want  to  see  me  at  all  ? 

DORA 
I  didn't  say  that. 

SAFFORD 
You  women  don't  have  to  say  things. 

DORA 

(More  tenderly) 
Oh,  why  did  you  come  back,  Fred  ? 

SAFFORD 
Didn't  you  ever  think  I  would? 

DORA 
I  thought  your  promise  was  sufficient. 


50  THE  ROAD  TOGETHER 

SAFFORD 
I  was  a  fool  to  make  it. 

DORA 
Even  when  I  asked  it? 

SAFFORD 
It  cheated  us  out  of  our  happiness. 

DORA 

(Hurt  more  and  more  throughout) 
Would  it  have  been  happiness  ? 

SAFFORD 
Beginning  to  doubt? 

DORA 

(Looking  at  him) 

No,  Fred.  I'm  sorry;  but  seeing  you  again,  I  know 
it  couldn't  have  been  happiness. — How  you  have 
changed ! 

SAFFORD 
(  Tensely ) 
Not  in  my  love  for  you. 

DORA 
Hush! 

SAFFORD 
Dora! 


THE  ROAD  TOGETHER  51 

DORA 

(Repressed) 

Don't,  my  husband!  Oh,  let  me  think — please, 
please. 

SAFFORD 
I  gave  you  time  to  think  once,  and  I  lost  you. 

DORA 

(On  the  defensive) 
You  never  had  me.     I  see  it  now,  never! 

SAFFORD 
(Forcibly) 

Yes;  I  did. 

DORA 

No,  no.  I  was  down,  weary,  sick.  Marriage  wasn't 
what  I  thought  and— 

SAFFORD 
You're  not  going  to  hand  out  that  usual  talk? 

DORA 

(Breaking  slightly) 

God,  Fred!  Don't  you  see  I  didn't  want  to  regret? 
It  kept  me  up:  the  knowledge  that  I'd  done  the  wisest 
thing  for  us  all. 


52  THE  ROAD  TOGETHER 

SAFFORD 
(Emphatically) 

What  you  did  to  me  made  me  what  I  am.     Look 
at  me. 

DORA 

(Shuddering) 
No,  no. 

SAFFORD 

Yes,  look  at  me.     (Slowly)  I'm  a  disappointment,  a 
failure,  eh? 

DORA 

(Moving  from  him) 
Yes;  and  it  hurts. 

SAFFORD 

(With  a  touch  of  genuine  feeling) 
I  would  have  been  different  if  I'd  had  you. 

DORA 

(Slowly  shrinking  from  him  with  growing  disillusion 
ment) 
Oh,  why  didn't  you  forget  me? 

SAFFORD 
As  you  did?    I  couldn't,  Dora;  I  couldn't. 

DORA 

I  never  forgot  you,  Fred.     I  thought  you  were  a 
strong  man,  strong  in  your  love;  strong  enough  to 


THE  ROAD  TOGETHER  53 

make  your  love,  if  nothing  else,  keep  you  clean.  But 
you've  soiled  yourself  and  me  in  coming  back  this  way 
— in  being  what  you  are. 

SAFFORD 
Did  you  ever  once  inquire  about  me? 

DORA 
I  trusted  you. 

SAFFORD 
Then,  how  do  you  know  what  I've  become? 

DORA 
Oh,  Fred,  it's  in  your  face. 

SAFFORD 
I  love  you,  I  tell  you. 

DORA 
Love? 

SAFFORD 

Yes.     You've  always  been  near  me.     If  I'd  owned 
you  just  once  I  might  have  forgotten. 

DORA 
Is  that  the  way  men  like  you  forget? 

SAFFORD 
I've  tried  to  forget  you,  but  I  couldn't. 


54  THE  ROAD  TOGETHER 

DORA 
I  gave  you  credit  for  everything. 

SAFFORD 

Oh,  no,  you  didn't.  You  really  blamed  me  for 
going  so  easily. 

DORA 
No! 

SAFFORD 

Yes,  you  did.  I  know  women.  You'd  have  come 
with  me,  if  I'd  made  you.  (She  gazes  incredulously) 
But  I  couldn't  stay  and  force  you.  You  know  Porter 
made  me  get  out.  Don't  try  to  fool  me. 

DORA 

(Not  understanding) 
Tom? 

SAFFORD 

I  want  you  to  forgive  me  for  going.  But  he  knew 
the  hole  I  was  in.  I  didn't  intend  to  keep  the  money, 
but  I  was  desperate — 

DORA 

You  stole  money?  You  left  Tom's  bank  be 
cause —  ? 

SAFFORD 
(Startled) 

Didn't  he  tell  you? 


THE  ROAD  TOGETHER  55 

DORA 

(Shrinking  back) 
No!    Never  that! 

SAFFORD 

(With  a  touch  of  bravado} 

Well,  it  makes  no  difference.     You'd  -have  to  know 
some    day.     I    was    desperate    after    you    threw    me 


DORA 
(Revolted) 

After!  And  I  thought  it  was  your  strength  that 
made  you  go! 

SAFFORD 

I  tell  you  you've  changed  towards  me  because  I 
didn't  take  you  as  a  man  should  when  he  wants  a 
woman.  But  I've  come  back  for  you  now. 

DORA 

(Sarcastically) 
How  you  love  me! 

SAFFORD 

(Pleading  quickly) 

You've  got  to  save  me,  Dora.  Every  time  life  shuf 
fled  me  rotten  cards,  I  knew  I'd  have  played  to  win 
by  your  side.  What  was  still  decent  in  me  reproached 
me  and  made  me  cling  to  the  thought  of  you.  I  could- 


56  THE  ROAD  TOGETHER 

n't  pull  myself  up  alone.  The  loss  of  you  kept  you 
alive.  My  love  for  you  made  me  go  wrong  first  and 
you've  got  to  help  me  to  go  back  or  I'm  finished. 

DORA 

(Incredulously  staring  at  him) 
You  blame  me!    You  miserable — 

SAFFORD 

You'll  blame  yourself  for  what  I  am  when  you've 
thought  it  over.  (Reproachfully)  You  clung  to  me 
when  you  needed  me. 

DORA 

I  was  unhappy,  I —  (Turning  firmly  as  he  sneers) 
No.  I  won't  make  excuses.  Perhaps  I  did  you  a 
wrong. 

SAFFORD 
(Bitterly) 
But  you  found  consolation  with  your  husband. 

DORA 

(Her  face  brightening) 
Yes. 

SAFFORD 
(Sneering) 

And  I  suppose  you  have  made  yourself  part  of  his 
career  ? 


THE  ROAD  TOGETHER  57 

DORA 

Yes,  I  have — as  I  told  you  I  would.     I've  helped 
to  make  him — 

SAFFORD 
What?     A  man   respected   and  honest,   eh? 

DORA 
Yes! 

SAFFORD 
(Sneering) 
Honest? 

DORA 
What  do  you  mean? 

SAFFORD 
Honest? 

DORA 

(As  he  laughs  bitterly) 
What  do  you  think  you'll  gain  by  insulting  him? 

SAFFORD 

(Abruptly  pointing  to  dining-room  door) 
Who's  your  husband  lunching  with  ? 

DORA 

(Involuntarily) 
Mr.    Tainter — Mr.    Gilmore    and —       (Suddenly 


58  THE  ROAD  TOGETHER 

realizing  and  becoming  confused)  How  did  you  know 
they  were  here? 

SAFFORD 

Didn't  you  hear  Julia  tell  me?  But  I  didn't  know 
who  they  were.  Thanks  for  telling  me.  Gilmore,  eh  ? 
George  Gilmore !  And  Tainter,  eh  ?  I  thought  so. 

DORA 

(Recalling  PORTER'S  suspicions,  as  SAFFORD  laughs) 
What  do  you  mean? 

SAFFORD 

For  three  weeks  since  I  came  back,  I've  been  nosing 
around.  That's  why  I  waited  before  I  saw  you.  I 
was  afraid  you'd  pull  this  good  husband  stuff.  I've 
found  out  what  I  wanted  to  know  about  him.  And 
I'll  tell  you  how  I  found  out  if  you  want  to  know. 

DORA 
Leave  this  house! 

SAFFORD 
He's  playing  crooked  politics. 

DORA 
(Sharply) 

No. 

SAFFORD 

Watch  that  C.  N.  R.  Railroad  indictment.  You'll 
find  these  fellows  pressed  for  trial,  like  hell  you  will. 


THE  ROAD  TOGETHER  59 

DORA 

(Defensively) 
These  men  have  nothing  to  do  with  that  case. 

SAFFORD 

Haven't  they?  Well,  their  friends  have  and  these 
are  the  fellows  who  can  give  your  husband  what  he 
wants — the  nomination! 

DORA 
Leave  this  house! 

SAFFORD 
(Pushing  her  gradually  towards  the  window,  step  by 

step} 

Dora,  Dora!  Don't  treat  me  this  way.  I'll  do 
anything  to  get  you.  I  love  you.  Come  with  me. 

DORA 
Go!    Go! 

SAFFORD 
He's  no  justification  for  what  you've  done  me. 

DORA 

Don't  touch  me.  If  you  don't  go,  I'll  call  him  and 
tell  him  you  are  a  thief ! 

SAFFORD 
I  don't  give  a  damn  now.    I  won't  live  without  you. 


60  THE  ROAD  TOGETHER 

DORA 

You've  stripped  everything.    Go.    Go!    Sh! 

(She  has  retreated  slowly  to  window  by  piano. 
The  doors  open  in  back  and  KENT,  followed 
by  GILMORE,  TAINTER,  and  DIDDLE  enter. 
KENT  believes  they  are  alone. 

GILMORE,  an  impressive,  authoritative  man 
about  fifty;  BIDDLE,  somewhat  younger,  is  suave 
and  polished;  TAINTER,  rather  rough  and  im 
portant. 

DORA  instinctively  covers  SAFFORD.  They 
are  both  hidden  by  the  plants  and  flowers  which 
screen  the  piano.  SAFFORD  grips  her  arm  and 
listens  with  a  sneer,  as  she  stands  dazed.) 

KENT 

(Indicating) 
We'll  be  more  comfortable  in  the  library. 

GILMORE 

(In  a  persuasive,  confidential  tone) 
It's  only  a  question  of  a  few  months,  Kent;  the 
reason  for  delaying  the  trial  can  appear  perfectly 
legitimate,  can't  it,  gentlemen?  (Other  two  agree) 
Besides,  your  record  protects  you  from  criticism  and 
our  position  guarantees  your  success.  (He  sees  KENT'S 
uncertainty)  But  let's  go  over  it  again.  Perhaps  we 
can  put  our  offer  in  a  more  attractive  way.  (To 
others)  Fine  mild  Perfectos  these. 

(The    others,   at   KENT'S   suggestion,   go    out 


THE  ROAD  TOGETHER  61 

towards  the  library.  GILMORE  follows. 
WOODS  has  appeared  at  the  folding-doors. 
KENT  sees  him.) 

KENT 
Woods,  did  you  telephone  my  assistant? 

WOODS 
Mr.  Deering  will  be  up  later. 

KENT 
These  gentlemen  need  not  see  him,  understand? 

WOODS 
Yes,  sir. 

KENT 

Serve  liqueurs  in  the  library. 

WOODS 
Yes,  sir. 

(KENT  goes  thoughtfully  towards  the  library. 
Murmur  of  men  heard  greeting  him.  WOODS 
closes  doors  in  back  and  cuts  himself  from  view. 
DORA  and  SAFFORD  are  alone.) 

SAFFORD 
(Sneering) 
You  see! 


62  THE  ROAD  TOGETHER 

DORA 
Go! 

SAFFORD 
I'm  a  thief,  am  I?    Well,  what's  he? 

DORA 
(Dazed) 
I   don't  believe   it. 

SAFFORD 
He'll  try  to  fool  you. 

DORA 

(Determined) 
I'll  find  out. 

SAFFORD 
(With  hope) 
And  if—? 

DORA 
(Finally) 

Never  with  you.      (Motions  toward  main   door) 
Go!     Go!    You're  dead  to  me. 

SAFFORD 
(Tensely) 

Dead,   am   I?     Then  you've  wrecked  me;  you've 
killed  me  for  his  career  and  he's  crooked — crooked. 


THE  ROAD  TOGETHER  63 

(Bitterly)  Don't  forget  you've  killed  me  and  he's 
going  crooked  in  spite  of  your  sacrifice.  Don't  forget 
that. 

DORA 

( Throughout) 
Go!    Go!    Go!— It  isn't  true! 

(She  half  pushes  him  in  disgust  out  of  the  room, 
closing  the  door.  Then  she  staggers  up  to 
the  folding-doors,  leans  against  them,  looking 
towards  library  where  her  husband  is.  But  in 
spite  of  her  words,  her  face  is  set  in  doubt  and 
suspicion.) 

CURTAIN 


THE  SECOND  ACT 


THE  SECOND  ACT 

Same  as  the  first  act.    Late  the  next  afternoon. 

The  curtain  rises  on  DORA  seated  at  piano  playint 
an  aria  from  Madame  Butterfly.  She  has  on  an  after 
noon  gown.  She  seems  abstracted,  pauses,  and  looks 
impatiently  out  of  window.  She  does  this  a  second 
time  and  apparently  sees  KENT.  She  gives  an  eager 
cry,  then  crosses  quickly  to  door  as  though  to  meet 
him,  but  changes  her  mind  and  comes  slowly  into  room. 
Though  she  instinctively  resents  her  own  doubt,  it  is 
seen  that  she  feels  she  must  question  him  about  SAF- 
FORD'S  accusation. 

KENT  comes  in  and  throws  aside  hat  and  coat. 
There  is  a  note  of  quiet  determination  in  his  manner. 
He  has  some  unopened  letters  in  his  hand  which  he 
puts  on  table. 

KENT 
Hello,  Dora.    Feeling  better? 

DORA 
Yes. 

KENT 

I  came  in  too  late  last  night  to  disturb  you  and  I 
thought  you'd  better  sleep  this  morning.  Has  Armor 
come  yet? 

67 


68  THE  ROAD  TOGETHER 

DORA 

He  missed  you  yesterday.  Didn't  you  see  him  at 
your  office? 

KENT 

I  haven't  been  there  today.  (Looks  at  clock} 
Have  my  brokers  'phoned? 

DORA 

Mr.  Cooper  did.  He  said  he'd  ring  you  up  later. 
(After  a  pause  as  though  she  half  hesitates  to  take  up 
the  subject)  But  you  haven't  told  me  about  the 
luncheon  yesterday. 

KENT 
There's  nothing  to  tell. 

DORA 

(As  he  is  glancing  through  mail) 
You're  still  considering  being  a  candidate? 

KENT 

For  Governor?  (She  assents  slowly)  No;  I  de 
cided  not  to  run. 

DORA 

(Obviously  relieved,  though  surprised) 
Not  to  run? 

KENT 
Why,  I  thought  you'd  be  disappointed? 


THE  ROAD  TOGETHER  69 

DORA 

(With  conflicting  emotions) 

I  am  disappointed,  if  you  are.  We've  both  looked 
forward  to  it  so.  But  I  know  there  must  have  been 
good  reasons  why  you  have  refused  their  support. 

KENT 

They  offered  it;  but  I  couldn't  accept  their  terms. 
(She  gives  a  sigh  of  relief  which  causes  him  to  look  at 
her  somewhat  puzzled)  Dora,  aren't  you  feeling  well? 

DORA 
I  had  a  wretched  night:  I'll  be  better  now. 

KENT 
Here's  some  mail  for  you. 

DORA 

(As  she  takes  up  the  letters,  casually  looking  through 

them) 

Bridge?  Belgium  Relief.  Wedding  announce 
ments  ? 

KENT 
Not  Tom  Porter's? 

DORA 

( Good-naturedly  ) 

No. — Wallace,  why  haven't  you  been  nice  to  Tom 
lately? 


70  THE  ROAD  TOGETHER 

KENT 

Nonsense. 

• 

DORA 

No,  you  haven't.  You've  really  been  awfully  touchy. 
Here.  (Giving  him  some  letters)  You'd  better  take 
these. 

KENT 

(Glancing  at  envelopes;  tossing  them  aside  unopened) 
Bills,  I  presume. 

DORA 

Haven't  some  of  them  been  kept  waiting  quite  a 
time?  The  florist  and 

KENT 

(Avoiding  the  subject) 
I'll  attend  to  them  later. 

(She  has  kept  several  letters  in  her  hand  and 
now,  on  seeing  one,  which  she  recognizes  is  from 
SAFFORD,  she  starts;  then  obviously  conceals  it 
from  KENT,  who  is  still  glancing  through  the 
rest  of  the  mail.) 

They've  reserved  seats  for  Tristan.  It's  the  last  per 
formance. 


DORA 
Will  you  be  able  to  go  with  me? 


THE  ROAD  TOGETHER  71 

KENT 
If  I'm  busy,  get  Tom. 

DORA 

Wagner  always  gives  him  a  headache.     He  prefers 
Butterfly. 

KENT 
I  suppose  that  mushy  music  suits  his  mood. 

DORA 

Still,  he'll  go,  I  know,  if  that  important  Railroad 
trial  is  taking  all  your  attention. 

(KENT  looks  at  her  quickly.) 
(WOODS  enters.) 

WOODS 
Mr.  Deering. 

(KENT  assents  and  WOODS  goes  out,  taking 
KENT'S  hat  and  coat.) 

DORA 

(Tentatively) 
I'll  go  upstairs  if  it's  private. 

KENT 
No,  stay;  of  course,  stay. 

(DoRA  is  pleased  that  he  seems  to  wish  her  to 
remain.  As  KENT  goes  momentarily  out  to 
meet  DEERING,  DORA  looks  triumphantly  at 


72  THE  ROAD  TOGETHER 

SAFFORD'S  letter  which  she  has  kept  concealed 
in  her  hand.) 

DORA 
I  told  you  it  wasn't  so! 

(She  tears  the  unopened  letter  up,  with  a  cer 
tain  finality,  as  though  her  doubts  were  over. 
DEERING  and  KENT,  who  have  been  heard 
greeting  outside  door,  enter. 

ARMOR  DEERING,  JULIA'S  brother,  has  not 
yet  reached  thirty.  He  is  virile,  clean-cut,  and 
ingratiating.  He  has  an  air  of  reliable  manli 
ness  beneath  his  apparent  earnestness,  which, 
fortunately,  is  tempered  by  a  sense  of  humor.) 

DEERING 
How'd  do,   Mrs.  Kent. 

DORA 

(Greeting  him) 
Sorry  I  missed  you  yesterday,  Armor. 

KENT 

Cigarette?     Highball? 

DEERING 
(Refusing  both) 

No.     You  know  I'm  going  to  be  married;  so  I'm 
reforming  my  present  life. 


THE  ROAD  TOGETHER  73 

DORA 

(Without  any  hidden  intention) 
Then,  Armor,  you  and   Sally  must  be  more  than 
delighted  at  this  opportunity  Mr.  Kent  has  given  you. 

KENT 

What  opportunity? 

DORA 
Why,  the  C.  N.  Y.  case. 

DEERING 

Sister  Julia  just  told  me  you  decided  to  let  me  help 
you  handle  it  in  court.  I  thought  that  was  the  reason 
you  wished  to  see  me  here. 

DORA 

Why,  of  course.  You  spoke  of  it  yesterday,  Wal 
lace,  during  luncheon. 

KENT 

Yes,  yes;  but —  (There  is  a  momentary  pause) 
Well,  Armor,  you  know  I'd  do  whatever  I  could  for 
you  and  Julia,  but — 

DEERING 

(Sensing  the  situation) 

Don't  let  it  embarrass  you  if  Mrs.  Kent  or  Julia 
misunderstood. 


74  THE  ROAD  TOGETHER 

DORA 
(Puzzled) 
Wallace,  I  was  sure  you  said — 

KENT 

(Looking  at  her  keenly) 
I  think  you  are  mistaken,  dear. 

DORA 

Perhaps ;  yet 

(She  stops  a  second,  puzzled;  then  as  she  turns 
she  looks  at  the  torn  pieces  of  SAFFORD'S  letter 
still  in  her  hand,  her  suspicions  again  aroused. 
She  takes  flower  vase,  goes  up  into  dining-room, 
throws  letter  in  fireplace,  removes  the  fading 
flowers  from  vase,  etc.,  and  is  absorbed  in 
thought,  yet  half  unconsciously  at  times,  look 
ing  in  at  the  two  men  who  speak  in  a  quick, 
business-like  fashion  during  this.) 

DEERING 

I  felt  all  along  it's  your  case.    It  will  mean  a  lot  to 
your  political  future. 

KENT 
I  was  not  considering  that. 

DEERING 

I  don't  believe  you  know  all  I've  unearthed.     It 
will  cause  a  political  earthquake;   accounts  juggled; 


THE  ROAD  TOGETHER  75 

lobby  expenses  to  ward  off  strike  bills ;  expenses  toward 
political  compaigns — all  used  out  of  funds,  which,  by 
right,  belong  to  the  stockholders. 

KENT 

(Feeling  his  way  throughout) 

Perhaps,  after  all,  you  are  better  acquainted  with 
the  case.  But  are  the  facts  you  have  unearthed  ad 
missible  as  evidence  under  the  indictment? 

DEERING 
I'm  not  absolutely  positive,  sir. 

KENT 
But  that's  vital. 

DEERING 

I  know  a  mere  hint  of  what  I've  got  will  lead  the 
Governor  to  make  an  investigation  of  this  whole  situ 
ation. 

KENT 
You  advise  me  to  make  political  capital  out  of  this? 

DEERING 
(Smiling) 

It's  always  good  to  have  it  up  your  sleeve  if  you 
have  to  take  your  coat  off. 


76  THE  ROAD  TOGETHER 

KENT 

(Casually) 
It's  on  the  calendar  for  next  Monday,  isn't  it? 

DEERING 
Yes,  sir. 

KENT 

I  could  hardly  go  through  all  the  evidence  before 
then,  could  I? 

DEERING 
(Eagerly) 
I'm  well  enough  prepared  to  open. 

KENT 

( Hesitating ) 

From  what  you  say  this  appears  such  an  important 
case  that — 

DEERING 
You  feel  you'd  better  handle  it  entirely  yourself  ? 

KENT 
(Frankly) 
What  would  you  advise  in  my  place? 

DEERING 
(Smiling) 

You've  had  more  experience  with  crooks  than  I've 
had;  but,  then,  I'm  still  young. 


THE  ROAD  TOGETHER  77 

KENT 

I  can  probably  get  to  the  bottom  in  a  few  days.  I 
understand  their  counsel  has  asked  for  a  postponement 
and  if  we  agree 

DEERING 

(Quickly) 

I'd  advise  against  having  this  put  over.  Their 
counsel  has  already  exhausted  every  technicality  to  keep 
this  out  of  court.  The  court  would  allow  further 
postponement  only  upon  our  motion  and  that  wouldn't 
be  wise. 

KENT 

Still,  I  hardly  believe  it  advisable  to  spoil  our  case 
by  pushing  it  prematurely. 

DEERING 
But  there's  no  doubt  about  their  guilt. 

KENT 

Unfortunately  moral  certainty  is  not  legal  proof. 
If  this  case  should  be  thrown  out  on  a  technicality,  it 
means  immunity  from  future  prosecution. 

DEERING 
(Emphatically) 

Their  object  is  to  keep  it  off  the  Spring  calendar  so 
that,  after  the  Summer  recess,  the  case  may  be  tried 
before  another  Judge;  and  they  would  gain  the  usual 
benefits  of  delay.  Besides,  next  Fall,  with  the  muddle 


78  THE  ROAD  TOGETHER 

of  Municipal  and  State  elections,  they  figure  on  the 
people  being  blinded  to  the  real  situation  should  all 
the  facts  be  disclosed.  And  the  yellow  papers  are 
already  beginning  to  ask  questions.  So  I  don't  believe 
you'll  be  able  to  explain  satisfactorily  to  the  voters 
why  you've  put  off  this  case,  after  I've  forced  it  to 
trial,  should  you,  by  any  chance,  expect  to  rely  on 
their  votes  in  the  coming  election. 

KENT 
(Forcibly) 

I  don't  need  the  people's  votes;  I  won't  be  turned 
from  any  course  I  think  is  right.  If  I  halt  this  case 
one  month  or  two — over  to  the  Fall  even — it  will  be 
because  I  think  it  wise. 

DEERING 

I  beg  your  pardon  if  I  seemed  outspoken.  But  I 
felt  sure  of  my  position. 

KENT 
I'm  not  intending  to  dismiss  the  case. 

DEERING 

I  can't  help  thinking  how  embarrassing  it  might 
prove  for  you  if  you  delayed  this  prosecution  too  long, 
and  the  people  should  ask  why. 

(As  DORA  has  come  down  placing  the  empty 
flower  vase  on  the  piano,  she  catches  the  drift 


THE  ROAD  TOGETHER  79 

of  the  last  few  speeches.     She  stands  listening 
intently,  unobserved  by  KENT.) 

KENT 
Why  attempt  to  explain  anything  to  the  people? 

DEERING 
(With  feeling) 

Mr.  Kent;  I'm  deeply  grateful  for  all  you've  done 
for  me.  I  know  I'd  never  been  appointed  your  as 
sistant  if  I  hadn't  happened  to  be  Julia's  brother. 
I'm  afraid  I  presumed  on  that  friendship.  You  know 
best  about  this,  sir.  You  must  excuse  me  if 

KENT 
(He  is  obviously  moved.     His  manner  is  affectionate 

and  it  is  seen  his  course  has  been  difficult) 
Armor,   Armor.     Forgive  me.     I   quite  appreciate 
the  disappointment  this  must  be  to  you. 

DEERING 
(  Good-naturedly ) 
Truck!     I  saw  a  halo  sprouting  on  my  head. 

KENT 

I  understand.  But  you're  exaggerating,  you're  over- 
zealous;  it's  only  a  temporary  delay  and  it  seems  most 
expedient.  Come,  come.  Aren't  we  both  overdoing  its 
importance  a  little?  (They  laugh)  There'll  be  other 
things  that'll  come  your  way  soon. 


8o  THE  ROAD  TOGETHER 

DEERING 

Sure:  I'm  going  to  get  married. 

(WOODS  enters.) 

WOODS 
Mr.  Porter. 

DORA 

All  right,  Woods. 

(KENT   turns  and  sees  DORA  standing  there. 
WOODS  goes  out.) 

DEERING 
(Noting  there  is  some  embarrassment  as  they  gaze  at 

each  other) 

Excuse  me  for  a  moment,  Mrs.  Kent;  Sister  Julia 
is  in  the  car  with  Tom  Porter,  I  think.  I'll  tell  her 
I'm  here. 

(DEERING  goes  out.) 

DORA 
Why? 

KENT 
What? 

DORA 

This  delay? 

KENT 
You  heard  what  I  said. 


THE  ROAD  TOGETHER  81 

DORA 

That's  not  the  real  reason.     Something  at  luncheon 
yesterday 

KENT 
Bosh,  dear! 

DORA 

If  not  for  the  Governorship  nomination,  why? 

KENT 
What  makes  you  suspect  anything? 

DORA 
My  instinct. 

KENT 
You  women  have  many  false  instincts. 

DORA 
They  are  as  real  to  us  as  facts. 

KENT 
(Plausibly) 

Dear,   why  have  you   suddenly   grown   suspicious? 
It's  not  like  you. 

DORA 

No,  it's  not;  yet  if  one  suddenly  doubts  what  one 
has  trusted? 


82  THE  ROAD  TOGETHER 

KENT 
Don't  you  trust  me? 

DORA 

(With  impulsive  emphasis  as  though  to  reassure  her 
self) 

Yes,  I  do — I  do — of  course,  I  do.  (He  pats  her  arm; 
then  she  smiles  as  though  she  were  ashamed  of  her 
doubt)  I  was  a  bit  puzzled.  That's  all. 

(Enter  PORTER.) 

PORTER 

(Cheerfully,  seeing  them  together) 
Ah !  pretty  picture !     Not  interrupting,  am  I  ? 

DORA 

(Lightly) 
You're  a  habit;  never  an  interruption. 

PORTER 
Glad  I'm  something  you  can't  lose. 

DORA 

But  where 's  Julia?  I  thought  Armor  said  she  was 
with  you? 

PORTER 

She's  waiting  outside  in  the  car  for  me.  Said  she'd 
promised  to  pick  Armor  up,  too.  I  tried  to  get  her  to 
come  in  with  me;  but  I  can't  do  anything  with  her, 


THE  ROAD  TOGETHER  83 

She's  in  one  of  her  moods.     It  pays  to  be  a  writer; 
everybody  excuses  them  when  they're  flighty. 

DORA 

You  try  to  persuade  her,  Wallace.  Perhaps  she'll 
have  some  tea.  (Quietly  to  him  as  he  is  near  door) 
And  besides,  you'd  better  explain  to  her  about  Armor. 
(KENT  goes  out.  PORTER  turns  as  DORA  comes  close 
to  him)  Tom? 

PORTER 
Yes,  Dora. 

DORA 
How  was  it  Fred  wasn't  arrested? 


PORTER 
(Surprised) 


Arrested  ? 


DORA 
Yes;  for  his  theft  at  the  bank. 

PORTER 
He  told  you? 

DORA 

Yes.     He  thought  I  knew.     He  said  you  had  dis 
covered  it.    Did  any  one  else  know? 


84  THE  ROAD  TOGETHER 

PORTER 
Fortunately  not. 

DORA 
Then  the  money  was  restored? 

PORTER 

Yes — in  full.  (Not  quite  understanding  her  mood) 
But  don't  worry. 

DORA 

(Interrupting) 

Did  he  restore  it?  (PORTER  smiles  cynically  in 
spite  of  himself;  she  steps  nearer  to  him,  grasping  the 
situation)  You — you  put  it  back! 

PORTER 

(Deprecating  it) 
Now  don't  let's  talk  of  that. 

DORA 
What  a  friend  you  have  been — what  a  friend ! 

PORTER 

(Patting  the  hand  which  she  has  put  in  his) 
I'd  do  anything  for  you  and  Julia. 

DORA 

Then  why  didn't  you  tell  me  of  this  before? 


THE  ROAD  TOGETHER  85 

PORTER 

(Half  whimsically) 

Dora,  we  all  need  illusions  to  help  us  over  the  hard 
places. 

DORA 

No — no,  we  don't.  They  make  us  sentimentalize 
things.  Here  I've  been  thinking  all  this  time  that  Fred 
was  a  decent,  strong,  honest  man ;  that  he  did  not  need 
me  as  my  husband  did.  And  he  was  a  common  crook ; 
a  thief;  a  man  without  principle;  one  wrho  betrayed 
a  trust;  took  money!  (Disgusted)  Oh,  that  I  should 
ever  have  given  him  a  thought!  It  shames  me,  Tom, 
that  any  man  who  touched  my  life,  who  claimed  he 
loved  me  should  not  be  able  to  go  straight  and  honest. 
Oh,  the  insult  he's  given  me.  And  then  he  blames 
me — me — for  what  he  has  become!  (Passionately) 
Why  didn't  you  have  him  arrested? 

PORTER 

Because  it  would  have  been  your  husband's  duty  to 
send  him  to  jail. 

DORA 

Do  you  think  Wallace  would  have  hesitated  in  doing 
his  duty? 

PORTER 

You  thought  you  loved  Fred  then.  You  might  have 
interfered.  You  might  have  felt  responsible. 


86  THE  ROAD  TOGETHER 

DORA 

Responsible!  (Sarcastically)  That's  what  Fred 
said.  (Bitterly)  That  I  had  wrecked  his  life  for  the 
sake  of  my  husband.  Oh,  what  a  cad  to  say  a  thing 
like  that. 

PORTER 

I  didn't  want  any  opportunity  to  arise  where  Wal 
lace  might  forget  his  oath  of  office. 

DORA 

(With  confidence) 

He  wouldn't  have  forgotten  it.  He'd  have  gone 
through  anything  that  was  his  duty  then,  as  he  would 
now. 

PORTER 
Yes;  I'm  glad  you  feel  that. 

DORA 
And  Fred  actually  said  Wallace  was  crooked. 

PORTER 
What? 

DORA 
Yes.    That  was  the  last  insult. 

PORTER 
God!     He  was  a  rotter,  wasn't  he? 


THE  ROAD  TOGETHER  87 

DORA 

Yes.  And  to  think  I  might  have  gone  with  him — 
might  have  been  married  by  now — to  a  crook.  (Shud 
dering)  Oh! 

(The  'phone  rings.) 

PORTER 
But  it's  all  right  now,  Dora. 

DORA 
Yes.     Only  make  him  go  away.     You  can. 

PORTER 

I  have  already.  (She  looks  up  in  surprise)  I  fol 
lowed  him  after  he  left  here.  I  made  him  sail  at  noon. 
He's  gone  to  the  land  of  the  men  who  can't  come  back. 

DORA 

(With  a  sigh  of  relief) 

Thank  you,  Tom.  (The  'phone  rings  again)  You 
answer  it. 

PORTER 

Always  knew  you'd  see  you  hadn't  made  a  mistake 
in  staying  here. 

DORA 

(Smiling  tenderly) 
No.     I  didn't  make  any  mistake. 

(DoRA  goes  over  to  the  piano  and  after  a  few 
moments  sits  before  it,  completely  mistress  of 


88  THE  ROAD  TOGETHER 

herself  again.  PORTER  goes  to  'phone.  KENT 
enters  quietly  and  is  unobserved  at  first.) 

PORTER 

Hello!  Yes,  this  is  Mr.  Kent's.  Cooper  &  Collins? 
If  it's  important  I'll  call  him. 

KENT 

(Slightly  embarrassed) 
Is  it  for  me? 

PORTER 

(Looking  at  him  slowly) 
Yes;  your  brokers. 

KENT 

Tell  them  to  hold  the  wire.  (PORTER  does  so  and 
puts  down  receiver)  Julia  wouldn't  come  in.  She  and 
Armor  are  waiting  for  you,  Tom. 

PORTER 

(Realizing  KENT  wishes  to  speak  privately  on  f phone) 
To  be  sure.  Bye-bye,  Wallace.  (Goes  to  DORA, 
who  gives  him  a  handshake  full  of  gratitude)  Bye-bye. 
Going  to  take  dinner  with  Julia  to-night.  (Whimsic 
ally)  Intend  to  try  my  luck  again  before  she  goes. 
Wouldn't  it  be  splendid  if  she ?  Well,  it's  some 
thing  to  love  her  even  if  I  can't. — Bye-bye. 

(PORTER  goes  out.  KENT,  after  glancing  at 
DORA  and  not  desiring  to  arouse  her  suspicions , 
decides  to  'phone  openly.) 


THE  ROAD  TOGETHER  89 

KENT 

Hello,  Collins.  What  do  you  advise?  Prices  have 
gone  down  a  point?  You  don't  need  more  margin? 
Well,  don't  buy  in  till  it  drops  to  40.  (Significantly) 
I  think  it  will.  Good-bye. 

(He  hangs  up  the  receiver  and  looks  at  DORA, 
who  has  now  begun  to  play  an  improvisation. 
There  is  a  long  pause.  After  slowly  lighting  a 
cigarette  KENT  crosses  to  her.  It  is  seen  he 
realizes  he  must  make  some  explanation.  His 
manner  throughout  is  tender  and  shows  the 
difficulty  of  his  position.) 

I'm  going  to  Rosemoor  for  a  few  days.  Will  you  go 
with  me? 

DORA 

And  interrupt  your  work?  No.  (Cheerfully,  as 
she  continues  to  play  throughout  softly)  A  man  should 
have  one  place  where  he  can  get  away  from  wives  and 
'phones. 

KENT 

Now,  come,  confess;  you  are  disappointed  that  I'm 
not  in  the  running  for  Governor. 

DORA 
I  can't  seem  to  think  of  you  out  of  public  life. 

KENT 

Well,  you  see  there  are  several  big  guns  after  the 
nomination  and  I  thought  it  might  cause  a  lot  of  com 
plications  if  I  kept  in  as  a  candidate. 


90  THE  ROAD  TOGETHER 

DORA 
Yet  you  knew  all  this? 

KENT 

Yes,  dear;  but  I'm  getting  sick  of  politics,  with  its 
lack  of  gratitude,  its  deals,  its  bickerings  and  fence- 
fixing.  I've  felt  the  need  of  something  secure — some 
life  position  away  from  all  the  mess  of  campaigns  and 
elections.  (Eyeing  her)  Besides,  I  know  how  much 
happier  you'd  feel  if  things  were  certain. 

DORA 

(Not  quite  understanding) 

But  you  never  felt  this  way  before.  You  always 
loved  the  fight.  (Smiling)  I'm  afraid  you'll  get  rest 
less  for  the  smell  of  battle,  as  you  used  to  call  it.  You 
talk  as  though  you  were  going  to  give  up  your  whole 
life-work.  I  won't  let  you  do  that.  It's  just  a  mood, 
dear.  You've  been  working  too  hard. 

KENT 
(Puffing  slowly  and  measuring  his  words  carefully) 

Oh,  I'm  not  going  to  put  everything  away. — I'll  tell 
you  a  little  secret.  Only  you  must  promise  to  keep  it 
all  to  yourself  till  it  comes  out  in  the  papers?  (She 
smiles  in  agreement)  Well — you  see,  there's  a  va 
cancy  on  the  Federal  Bench. 


THE  ROAD  TOGETHER  91 

DORA 

A  Federal  Judgeship?  (She  stops  playing,  rises  and 
in  a  puzzled  manner  goes  to  him,  trying  throughout 
to  grasp  its  meaning)  That  isn't  why  you've  agreed 
to  postpone  this  Railroad  case? 

KENT 

(With  apparent  frankness) 
Haven't  I  explained  all  that? 

DORA 

You've  explained  only  that  you  are  not  going  to  be 
a  candidate  for  Governor. 

KENT 

I  told  you  they  had  offered  it  and  that  I  refused. 

DORA 

The  Governorship  is  an  elective  office;  the  people 
would  have  some  say  in  that.  Tainter  and  the  Ma 
chine  control  enough  Federal  patronage  in  this  boss- 
ridden  state  to  offer  you  the  Judgeship.  I  know  that. 
For  reasons  of  their  own  it  has  been  offered  you,  as  an 
alternative;  and  you  have  accepted.  You  have  accepted, 
haven't  you? 

KENT 

Well,  what  if  I  have?  Do  you  suppose,  Dora,  that 
I'd  have  been  foolish  enough  to  have  told  you  this  at 
all,  if  I  had  meant  to  deceive  you? 


92  THE  ROAD  TOGETHER 

DORA 

You've  seen  my  suspicions.  You  realized  that  you 
couldn't  always  keep  this  from  me.  Perhaps  you 
thought  the  best  way  to  blind  me  was  to  tell  me  the 
truth. 

KENT 

(Turning  away) 
Have  we  got  to  go  over  this  again  ? 

DORA 

I  must  understand  this;  I  must  think  what  this 
means. 

KENT 
Aren't  you  women  happier  when  you  don't  think? 

DORA 

Please  don't  treat  me  as  a  child.  If  all  this  hadn't 
happened  just  when  it  did  I'd  have  taken  your  mere 
word.  But  I  can't.  I  can't  now. 

KENT 
Dora! 

DORA 

Wallace;  since  luncheon  yesterday  I  have  been  tor 
tured  in  spite  of  myself.  You  could  have  seen  me 
there  by  the  window  when  you  four  passed  through 
this  room.  (He  is  startled)  I  couldn't  help  hearing. 
Gilmore  said  it  could  be  made  to  '  appear '  all  right. 


THE  ROAD  TOGETHER  93 

You've  done  so  to  Armor;  but  you  must  tell  me  the 
truth. 

KENT 

It  hasn't  been  pleasant  for  me  to  deceive  Armor.     I 
beg  of  you  not  to  go  any  further. 


DORA 

(Slowly) 

So  they  accomplished  their  object  in  coming? 

KENT 

Since  you  insist  on  knowing — yes. 

DORA 
You've  agreed  to  delay  prosecuting  the  C.  N.  Y. 


case  ? 


KENT 


Don't   forget  how  financial   and   political   interests 
are  allied. 

DORA 

(Admitting  it  to  herself  for  the  first  time) 
And  in  return  they  will  see  that  you  get  a  Federal 
Judgeship ! 

KENT 

Now,  don't  blame  me.    You  don't  know  what's  back 
of  this. 


94  THE  ROAD  TOGETHER 

DORA 

(With  a  ray  of  hope) 
I'm  only  trying  to  see  if  it's  honest,  that's  all? 

KENT 
There's  nothing  illegal 

DORA 

I'm  not  talking  of  law.  I'm  talking  of  what's  right. 
You've  agreed  to  delay  the  course  of  justice  for  your 
own  political  advancement.  Isn't  that  what  it  prac 
tically  means? 

KENT 

I'm  seeing  this  through  my  need;  so  don't  ask  me 
anything  further.  I've  done  what  I  thought  expedient 
and  best  for  you. 

DORA 

(Surprised) 
You've  done  this  for  me? 

KENT 

I  said  you  were  part  of  my  reason  for  agreeing. 
(Testily)  Good  Heavens,  Dora;  many  wives  would  be 
proud  to  be  in  your  position. 

DORA 

I  have  been  proud  of  your  success  up  to  now.  Suc 
cess!  (Recalls  JULIA'S  words)  But  success  is  not 
the  test. 


THE  ROAD  TOGETHER  95 

KENT 
It's  the  American  standard. 

DORA 

I  could  never  forget  how  you  had  obtained  the  ap 
pointment.  (He  moves  away  as  though  dismissing  it. 
She  hesitates  a  moment  and  then  goes  to  him  tenderly) 
Wallace;  several  times  things  like  this  have  come  up 
in  the  past  and  we've  always  talked  them  over  together. 
Remember  that  Insurance  case  last  Fall?  You  said  I 
helped  you  then.  I  know  men  in  politics  and  public 
office  must  consider  many  factors,  and  they  can't  help 
thinking,  in  spite  of  themselves,  of  the  political  effect. 
Let's  talk  this  over,  too;  if  it's  a  case  like  that. 

KENT 
But  I've  already  agreed   to  this. 

DORA 

You  have?  (WALLACE  nods)  If  you've  done  this 
through  some  mistaken  desire  to  satisfy  me,  there's  still 
time  to 

KENT 

I  can't.  (In  spite  of  himself)  There  are  other 
reasons. 

DORA 
Reasons  that  compel  you  to  do  it  ? 


96  THE  ROAD  TOGETHER 

KENT 
Does  a  man  do  these  things  of  choice? 

DORA 

If  it's  the  easiest  way,  some  do;  but  you  never  took 
that  cut.  (As  the  suspicion  slowly  grows)  Do  they 
know  something  about  you  ? 

KENT 
Yes. 

DORA 

Something  dishonest  that  you — you've  done?  And 
for  their  silence ? 

KENT 
No.    I've  done  nothing  dishonest — yet. 

DORA 
(She  gives  a  quick  gasp  of  joy  which  slowly  turns  into 

another  suspicion) 
This  telephone  just  now.     Your  brokers!     Stocks! 

KENT 
(Quickly) 
For  God's  sake,  Dora,  don't  dig  too  deep,  I  tell  you. 

DORA 

(Point  blank) 
Has  it  to  do  with  money? 


THE  ROAD  TOGETHER  97 

KENT 
Yes. 

DORA 

(Shrinking  away) 
You,  too! 

KENT 
(Brutally) 
Yes:  I  need  money.     Now  you've  got  it. 

DORA 

(Gasping   at   him   absolutely   stunned) 
You're  taking  their  money? 

KENT 

No;  I'm  not  as  crude  as  that.  I've  sold  stocks  I 
haven't  got,  on  margin.  Nothing  illegal  in  that.  Just 
the  habit  of  a  nation. 

DORA 

(After  a  pause,  as  though  trying  to  grasp  it) 
Go  on !    I  don't  understand. 

KENT 

I'm  caught  in  the  market.  Gilmore  and  Biddle  and 
their  friends  control  a  pool  of  the  stock ;  they  will  force 
prices  down  so  I  can  buy  in  and  get  out  and  make  what 
I  need.  (Bitterly)  In  return  for  their  consideration, 
I  merely  delay  the  C.  N.  Y.  trial. 


98  THE  ROAD  TOGETHER 

DORA 

(Almost  inaudibly  as  she  recalls  SAFFORD'S  accusation) 
Then  he  was  right! 

KENT 

(Desperately) 
You  don't  know  what  it  is  to  need  money,  do  you? 

DORA 

(Vaguely  for  some  moments) 

No.     You've  always  given  me  everything;  I  have  a 
little  income  of  my  own,  too 

KENT 

Your  income  pays  for  your  flowers  and  your  music; 
but  what  of  your  carriages,  your  amusements? 

DORA 
(Dumbly) 
But  your  salary? 

KENT 
Paid  for  your  dresses  and  pretty  things. 

DORA 
(Confused) 
But  I  didn't  know;  I  didn't  know. 


THE  ROAD  TOGETHER  99 

KENT 

Why  should  you?  You  never  could  understand 
money  matters. 

DORA 

(Helplessly) 

I  always  thought  we  had  enough.  You  never  said 
anything  about  my  accounts.  I've  let  you  handle 
everything. 

KENT 

(Half  tenderly) 

I  haven't  been  particularly  anxious  for  you  to  know 
the  facts.  (She  looks  at  him)  No  matter  why. 
Perhaps  because  you  took  such  joy  in  pretty  things. 

DORA 
(Quietly) 

You  feel  I'm  partly  to  blame  for  your  financial  con 
dition.  Yes;  you  do.  Well,  fortunately,  it's  not  too 
late;  we'll  change  all  that. 

KENT 

(Shrugging  his  shoulders) 
Change  a  habit  in  a  moment? 

DORA 

I  can  try.  I'll  do  without  my  '  pretty  things,'  as 
you  call  them.  There,  there,  Wallace.  We  can  live 
on  what  we  have,  can't  we? 


ioo  THE  ROAD  TOGETHER 

KENT 
And  what  of  the  bills? 

DORA 

( Good-naturedly ) 
They  can  wait. 

KENT 
(Laughs) 

I've  paid  nothing  for  months.  Many  of  them  have 
threatened  suit.  It's  a  marvel  the  yellow  news 
papers 

DORA 
Can't  we  save? 

KENT 
Who  ever  lives  in  this  city  and  saves? 

DORA 

(Cheerfully) 
We  will. 

KENT 
Yes ;  after  I  get  on  my  feet. 

DORA 
Through  your  deal  with  these  men? 

KENT 
Yes.     Now  do  you  understand? 


THE  ROAD  TOGETHER  101 

DORA 
(With  calm  determination) 

I'm  willing  to  bear  my  part  in  whatever  sacrifices 
we  must  make;  but  we'll  make  them  together.  Tele 
phone  Mr.  Gilmore,  or  Mr.  Tainter,  that  you  won't 
do  this. 

KENT 

Do  you  know  what'll  happen?  Gilmore  will  ruin 
me.  Ruin !  We'd  have  to  move  from  this  house ;  it's 
mortgaged  to  the  limit;  we'd  have  to  get  rid  of  every 
piece  of  furniture  to  feed  our  creditors;  we'd  land  on 
the  streets.  Every  dollar  I  could  scrape  together  I've 
put  up  for  margin  on  stocks  these  men  control.  I've 
gone  deeper  and  deeper;  every  month  selling  more; 
putting  up  more  margin ;  thinking  prices  would  drop 
and  I  could  recover  everything.  I  can't  get  out  and 
they'll  call  on  me  to  deliver  the  stuff  I  haven't  got ;  and 
if  I  don't  delay  this  Railroad  case,  Gilmore  will  push 
the  prices  up,  my  margins  will  be  wiped  out  clean,  and 
we'll  be  without  a  cent. 

DORA 
(Calmly) 

Ruin?  Move  from  here?  (Looks  about  room 
affectionately)  Well,  Wallace,  I'm  ready  even  for 
that. 

KENT 
But  I'm  not. 


102  THE  ROAD  TOGETHER 

DORA 
I  can  share  your  poverty  but  not 


KENT 

Come,  come;  look  the  facts  in  the  face. 

DORA 
You'll  not  do  this. 

KENT 
I  must. 

DORA 

(With  calm  strength) 
You  will  do  as  I  say. 

KENT 
Nothing  can  make  me. 

DORA 

/  can  make  you.  (He  looks  at  her  in  astonishment) 
Wallace,  I  beg  of  you  don't  do  this.  I  beg  of  you.  If 
you  only  knew  how  I'm  clinging  to  your  honesty,  what 
it  means  to  me! 

KENT 

There's  no  use  in  further  words.  (Emphatically) 
It's  done  and  agreed  to. 

DORA 

(Drawing  back) 
You  mean  that? 


THE  ROAD  TOGETHER  103 

KENT 

Absolutely. 

DORA 
What  about  your  oath  of  office? 

KENT 
Bah!    Who'll  know? 

DORA 
777  know. 

KENT 

(Cynically) 

Then  I  think  I  can  trust  you  to  keep  the  family 
secret. 

DORA 

Do  you  actually  mean  you're  deliberately  going  to 
ruin  your  whole  record  like  this? 

KENT 

There's  many  a  man  whose  record  is  good  because 
he  hasn't  been  found  out.  This  is  nobody's  concern. 

DORA 

Your  honesty  is  my  concern ;  your  work  is  my  con 
cern;  your  career  is  my  concern:  not  just  because  I'm 
your  wife;  but  because  I've  made  an  equal  contribu 
tion  ;  because  I  have  rights  here.  I  tell  you,  this  goes 


104  THE  ROAD  TOGETHER 

deeper  than  you  know.  I'd  rather  lose  your  love — yes 
— I'd  rather  destroy  whatever  happiness  you  have 
found  in  me,  than  let  you  make  this  crooked  deal.  Now 
you  see  how  dead  in  earnest  I  am. 

KENT 

Well,  I've  made  my  choice.  After  all,  it's  my 
career. 

DORA 
You  don't  think  I've  been  any  part  of  it? 

KENT 
Oh,  yes;  in  a  way,  but 

DORA 

(Murmuring  his  words,  incredulously) 
In  a  way,  but 

KENT 

Well,  I  guess  I've  got  a  right  to  do  what  I  want 
with  my  own  life. 

DORA 

That  wasn't  the  way  I  looked  at  it  when  I  had  a 
choice  to  make.  I  thought  of  you  and  how  my  actions 
might  affect  your  life.  You've  got  to  think  of  me 
in  what  you  do  with  your  life! 


THE  ROAD  TOGETHER  105 

KENT 

(Looking  at  her  intently) 
What  do  you  mean  ? 

DORA 
For  the  last  time,  will  you  telephone  Gilmore? 

KENT 

(Taking  her  by  the  arms  imperatively) 
What  choice  did  you  ever  have  to  make  that  affected 
my  career? 

DORA 
You're  going  through  with  this  deal? 

KENT 
Yes! 

DORA 

Then  I'll  answer  your  question. — Do  you  remem 
ber  Fred  Safford? 

KENT 
What  of  him? 

DORA 

During  your  first   campaign   for   the   District  At- 
torneyship,  he  and  I  saw  a  great  deal  of  each  other. 

KENT 

Well? 


io6  THE  ROAD  TOGETHER 

DORA 

He  wanted  me  to  go  away  with  him.  (KENT  gazes 
at  her)  I  very  nearly  went. 

KENT 

(Hardly  believing  her  words) 
You  nearly  went  with  him! 

DORA 
Yes. 

KENT 

And  you  stayed ? 

DORA 

(In  a  clear  f  direct  manner) 

For  the  reason  I've  just  told  you.  You  were  mak 
ing  your  first  real  fight.  I  knew  how  close  it  was. 
All  your  opponents  were  trying  to  get  something  on 
you — anything  that  could  blur  the  clean-cut  moral  is 
sues  you  were  standing  for.  I  felt  a  scandal  could 
never  have  been  explained  before  election;  you  would 
have  been  blamed  somehow.  I  did  not  want  you  to 
know  of  Fred  at  the  time.  It  would  have  distracted 
you,  weakened  your  strength  for  the  fight.  I  did  not 
wish  to  postpone  a  decision  for  some  future  settlement. 
I  feared  I  could  not  hide  it  from  you  much  longer,  so 
I  sent  him  away.  I  gave  him  up.  I  stayed  with  you. 
I  thought  you  needed  me  more ;  thought  you  needed  the 
help  I  could  bring  you  through  standing  by  your  side. 


THE  ROAD  TOGETHER  107 

That  was  the  choice  /  made  for  your  career:  that's 
why  I  have  a  right  to  ask  that  you  keep  it  clean. 

(He  has  stood  gazing  at  her,  though  at  first 
unable  to  grasp  its  relation  to  the  deal  with  the 
men.  Then  he  walks  back  and  forth  several 
times  in  silence  as  though  trying  to  make  up  his 
mind.  She  stands  watching  him,  firm  and  de 
termined  yet  without  any  defiance.  Finally  he 
gives  a  sharp,  ironic  laugh,  as  though  some  hid 
den  thought  were  touched.) 
Please  don't  laugh. 

KENT 
If  only  you  knew  how  amusing  it  all  is! 

DORA 
Amusing? 

KENT 

Yes ;   damned   amusing. 

(He  starts  for  the  'phone.) 

DORA 

Yes,  the  ending  is  amusing.     (Starting  to  explain) 
I've  seen  Fred  again.    He  came  back  and 

KENT 
Hello?    Give  me  Garden  77.    Yes. 


io8  THE  ROAD  TOGETHER 

DORA 

I  want  to  tell  you  everything,  Wallace.  I  didn't 
before,  because 

KENT 

(Ignoring  her) 

Hello;  connect  me  with  Mr.  Gilmore.  Yes,  Wal 
lace  Kent.  Thank  you.  (She  waits  in  suspense} 
Hello,  Gilmore:  I  have  been  thinking  over  that  little 
matter  and  I  have  decided  I  won't  do  it.  (  DORA  gives 
a  cry  of  joy)  No;  under  no  considerations.  Personal 
reasons.  Yes.  (Significantly)  I  quite  appreciate  what 
it  means.  Good-bye. 

(He  puts  back  receiver.) 

DORA 

(Deeply  moved) 
Thank  you — thank  you. 

KENT 

(Coldly) 
What's  Armor's  number? 

DORA 

I  never  can  remember  figures.  (As  he  glances 
through  telephone  book)  Thank  you.  It's  all  clean  and 
above  board  now.  We'll  get  along  somehow.  It  may 
not  be  as  hard  as  you  suppose.  We'll  move  to  a  cheaper 
place.  I'll  never  forget  this,  never,  never. 


THE  ROAD  TOGETHER  109 

KENT 

(At  the  "phone) 
Give  me  Morris  176. 

DORA 

I'm  sure  there'll  be  something  I  can  do.  ( Trying  to 
smile)  I  never  was  very  handy  with  my  fingers,  but, 
if  necessary,  I'll  do  anything  that  will  help. 

KENT 

(At  "phone) 

Hello!  Is  that  you,  Armor?  Just  get  in?  Well, 
I've  come  to  the  conclusion  you're  right  about  that 
C.  N.  Y.  business  and  I'll  let  you  take  it  into  court 
yourself  next  Monday. — I  thought  you'd  be  pleased. 
Can  you  open  the  case  without  me  ?  I  may  have  to  be 
out  of  town  for  a  few  days,  so  I'll  leave  every  thing  in 
your  hands.  Yes,  of  course  you  can  tell  Julia.  Good 
bye.  Don't  thank  me. 

(He  hangs  up  receiver.) 

DORA 
(She  goes  to  put  her  arms  around  him  with  a  flood  of 

affection) 
What  can  I  say? 

KENT 

(Pushing  her  gently  away) 

I  intend  to  send  to  the  Governor  to-night  my  resig 
nation  as  District  Attorney. 


i  io  THE  ROAD  TOGETHER 

DORA 
(Slowly) 

Your  resignation? 

KENT 
Yes. 

DORA 
Why? 

KENT  • 

Because  I  can  accept  nothing  at  the  price  you  paid 
nor  keep  what  I've  gained  by  it.  (She  is  completely 
stunned  and  he  continues  with  increasing  bitterness) 
Was  that  your  idea  of  my  character,  my  strength?  Did 
you  think  I  could  not  have  stood  alone? 

DORA 
I  only  thought  you  needed  me. 

KENT 
I  did  not  need  your  pity. 

DORA 

You  did  not  know  what  it  was  I  gave  you;  the 
effect  was  the  same. 

KENT 
At  the  time,  j^es. 

DORA 
I  gave  it  all  willingly. 


THE  ROAD  TOGETHER  in 

KENT 

You  expect  me  to  take  it  proudly  because  you  sac 
rificed  yourself  and  the  man  you  loved  for  fear  I  might 
go  to  pieces?  You  thought  I  couldn't  rise  above  talk? 
Proud  of  that?  It's  an  insult. 

DORA 

(Completely  halted  by  his  unexpected  reaction) 
Insult  ? 

KENT 

Yes ;  it  was  an  insult :  you  might  have  given  me  the 
chance  to  offer  you  happiness  with  your  poor  weak 
fool.  (She  starts  to  explain)  Do  you  believe  I'd 
have  dragged  you  away  from  him  or  punished  you  be 
cause  7  couldn't  keep  your  love?  Do  you  think  I 
couldn't  have  been  decent  to  you  both? 

DORA 

You  would  have  treated  me  decently,  I  know.  But 
that  wouldn't  have  altered  the  other  facts.  I  did  what 
I  thought  was  honorable  by  you. 

KENT 
(Sneering) 

Honorable?  Honorable?  You  women  are  funny! 
You're  shocked  at  me  because  I  accepted  Gilmore's 
offer;  yet  with  your  feminine  logic  you  can  see  noth 
ing  despicable  in  living  a  lie  in  my  house.  Honor 
able? 


ii2  THE  ROAD  TOGETHER 

DORA 

(Confused) 

No!  No!  I  lived  no  lie.  If  you'll  let  me  explain. 
I  suffered  for  it  at  first,  but 

KENT 

That  was  sufficient  excuse  I  suppose  for  the  deceit? 
Only  suffer  for  an  action,  you  women  think,  and  it  be 
comes  beautiful !  Suffer !  You  love  it ;  you  take  pleasure 
in  it ;  your  spirit  of  martyrdom  is  your  greatest  luxury. 
Well,  you  acted  well;  played  your  part  splendidly; 
for  I  never  suspected,  even  when  he  was  around. 

DORA 

(Forcefully) 

Then  give  me  credit  for  that.  There  would  have 
been  no  sacrifice  had  I  brought  you  only  tears.  What 
if  I  did  hide  all  that  was  hard  then?  You  blame  me 
for  the  lie;  give  me  credit  for  my  consideration  and 
sincerity. 

KENT 

Sincerity?  And  you  lived  with  me  all  this  time  as 
my  wife  and  I  never  knew! 

DORA 
What  else  could  I  do  if  I  stayed  with  you? 

KENT 

Wanton ! 


THE  ROAD  TOGETHER  113 

DORA 

(Flaming  up} 
Don't  you  dare 

KENT 

I  understand  now.  You  took  my  name,  my  roof,  my 
protection,  and  gave  yourself  in  return.  (She  gives  a 
sharp  cry)  Wanton!  You  took  lips  that  meant  his; 
embraces  that  made  other  memories  live.  And  his 
name!  How  was  it  you  never  gasped  his  name? 

DORA 

I  never  stole  one  hour  with  him.  I  played  straight 
that  way. 

KENT 
How  do  I  know,  how  can  I  ever  know? 

DORA 

I'm  giving  you  my  word! 

KENT 

(With  great  scorn) 

Your  word !  When  you  lived  this  lie  and  have  given 
everything  the  same!  (She  turns  to  deny  but  can 
scarcely  speak  at  his  attitude)  How  can  I  believe  any 
thing  in  the  present  or  past  just  because  you've  given 
your  word? 

(She  stands  stunned  at  his  words  as  he  begins 
to  laugh  ironically  throughout.) 


ii4  THE  ROAD  TOGETHER 

DORA 

If  that's  the  way  you  feel,  you  can  believe  anything 
you  wish! 

KENT 

Haven't  you  gone  on  cheating  him,  cheating  your 
self,  and  cheating  me? 

DORA 
You? 

KENT 

Yes,  me/  And  I  thought  all  the  while  /  was  the 
one  you  loved.  I  fooled  myself  that  I  was  everything 
to  you.  And  I  wasn't,  was  I ?  I  wasn't? 

DORA 
I  tell  you  nothing  more  till  you  come  to  your  senses. 

KENT 

I'm  in  my  right  senses.  I  see  it  all.  You  don't 
have  to  explain.  But  I  do.  I  want  you  to  know  I, 
also,  did  everything  I  could  to  fool  and  deceive  you. 

DORA 

(Starting  up) 
To  fool  me? 

KENT 

Yes.  I  heaped  pretty  things  upon  you,  gave  you 
everything  you  wished ;  I've  ruined  myself — everything. 


THE  ROAD  TOGETHER  115 

Now  you  see.  Now  you  see  why  this  is  too  monstrously 
funny.  Because  I  thought  you  loved  me  and  that  kept 
me  silent. 

DORA 

Silent?  (Going  to  him)  What  are  you  talking 
about? 

KENT 

Don't  you  see?  You  love  somebody  else.  I  am  noth 
ing  to  you  now.  I  can  pass  out  of  your  life,  it's  over. 

DORA 

(  Trying  to  break  in ) 
Answer  me.    What  have  you  been  silent  about? 

KENT 

Now  that  it's  all  over  between  us,  I  can  tell  you. 
Don't  think  I  want  your  pity.  I  don't  need  it  now 
that  we  know  we  do  not  love  each  other. 

DORA 

(Starting  back) 
You  don't  love  me? 

KENT 
What  difference  does  my  love  make  to  you  now? 

DORA 
But 


ii6  THE  ROAD  TOGETHER 

KENT 

Let's  stop.  It's  over.  Done  with.  Thrown  in  the 
rubbish  heap. 

DORA 

Let's  have  all  the  truth. 

KENT 
It's  too  late,  I  tell  you;  too  late  for  me. 

DORA 

(Trying  to  grasp  the  situation) 
You  don't  love  me. 

KENT 

I  never  guessed  about  you.  You  never  guessed  about 
me.  What  a  game  we  were  playing.  And  you  could 
have  seen  it  happen  right  here,  before  your  eyes. 

DORA 

(Grasping  it) 
She  lied  to  me!    You  love  her!    Julia! 

KENT 

Isn't  it  funny  that  you  should  love  somebody  else 
and  that  I  should  love  somebody  else  and  that  we 
should  go  on  living  together,  lying  to  each  other? 
Isn't  it  too  monstrously  comical? 


THE  ROAD  TOGETHER  117 

DORA 
(Passionately) 

Yes,  that  you  could  live  with  me  when  your  love  had 
ceased ;  give  everything  just  the  same,  because  you  were 
a  man.  You  could  fool  and  trick  me  and  yet  blame 
me.  That's  why  you  were  so  bitter;  I  wounded  your 
pride  and  not  your  love! 

KENT 

I  know,  I  know,  you're  right.  I  won't  sneak  out  of 
it  the  injured  party.  I  was  to  blame,  I  was  to  blame,  I 
was  cruel — all.  I  lied;  I  lied.  We  both  lied.  And 
look  what  has  happened. 

DORA 
(Quickly) 

All  that's  happened  is  that  I'm  in  the  way.  That 
can  be  changed.  Go  to  her. 

KENT 
(Halting) 
Why  to  her,  pray? 

DORA 

(Controlling  herself) 
She  loves  you. 

KENT 

Me?  Loves  me?  (Laughing  as  before)  Loves 
me?  When  I've  never  said  a  word,  never  dared  look 
her  in  the  eyes  because  I  didn't  want  to  mess  things  up 
and  make  you  unhappy?  Loves  me?  No,  no. 


ii8  THE  ROAD  TOGETHER 

DORA 

(With  cold  intensity) 
Go  to  her.     She  loves  you.     She  told  me. 

KENT 

That's  absurd.  Why  should  she  tell  you?  It  isn't 
true.  No.  No.  It  can't  be  true. 

DORA 
Go  to  her;  she  loves  you. 

KENT 

(Dismissing  it) 

I've  had  enough  of  love  and  lies.  There's  noth 
ing  more  to  say.  (Goes  to  the  door)  I'll  leave  the 
house  to-night  and  go  to  Rosemoor ;  later  you  and  I  can 
arrange  matters  quietly. 

DORA 

(With  a  sharp  cry) 
And  what's  to  become  of  me? 

KENT 
(Bitterly) 
Now  you  can  go  to  the  man  you  love! 

(He  goes  out.     She  stands  stunned  and  silent.) 

CURTAIN 


THE  THIRD   ACT 


THE  THIRD  ACT 

The  study  in  JULIA  DEERIXG'S  apartment.  The 
same  evening:  later. 

The  room,  which  is  shallow  and  intimate,  is  soft 
in  tone.  The  fireplace  at  the  left  contains  a  blazing 
log  which  casts  its  wavering  light  upon  a  deep  leather 
couch  stretched  cata-cornered  before  it.  Several  long 
cathedral  candles,  in  esthetic  holders,  are  also  lighted, 
and  one  notices  a  work-table  near  the  center,  upon 
which  are  a  writer's  usual  assortment  of  disordered 
letters  and  manuscripts.  There  are  several  chairs,  of 
varying  designs,  about  this.  Above  it  hangs  a  soft 
shaded  light-cluster  which,  when  the  curtain  lifts,  is 
turned  out.  Several  old  engravings  are  seen,  other 
wise  the  walls  seem  to  melt  away  in  the  shadows.  The 
floor  is  covered  with  a  thick  Oriental  rug.  The  room, 
somehow,  suggests  JULIA — with  its  faintly  insinuat 
ing  appeal  to  sensation. 

The  general  entrance  is  in  the  right  upper  corner 
of  the  irregularly  cut  room.  This  door  opens  out  upon 
the  hallway  which  leads  to  the  rest  of  the  apartment. 
A  window,  now  curtained,  with  some  low  book-cases 
on  either  side,  is  in  the  back.  The  electric  switch  is 
by  the  fireplace. 

There  is  no  one  visible  when  the  curtain  rises. 
Some  moments  later  JULIA  opens  the  door  and  comes 
in,  followed  by  PORTER,  who  is  eyeing  her  furtively. 
121 


122  THE  ROAD  TOGETHER 

She  wears  a  loose  informal  gown;  he  is  in  dinner-coat. 
She  goes  towards  the  fire  and  sits  upon  the  couch. 

JULIA 
The  cigarettes  are  there,  Tom. 

PORTER 
Have  one? 

JULIA 
(Taking  it) 

Try  one  of  mine.     They're  a  new  brand,  Russian. 
Safonoff  sent  them  to  me. 

PORTER 

(As   he  lights   her  cigarette) 
No ;  I'll  stick  by  my  own. 

JULIA 

(After  a  pause,  as  he  gazes  at  her  blowing  rings) 
I  love  to  watch  the  smoke. 

PORTER 
I  love  to  watch  you  watch  it. 

(A  MAID  enters  with  coffee  cups  on  tray  which 
she  places  near  JULIA.  She  fills  them  with 
steaming  coffee;  hands  one  to  JULIA  and  offers 
the  other  to  PORTER,  who  takes  it.  She  then 
goes  to  switch  on  the  light.) 


THE  ROAD  TOGETHER  123 

JULIA 

Don't  turn  up  the  lights  yet.     (MAID  goes  out.) 
I'm  so  fond  of  shadows.    Aren't  you,  Tom  ? 

PORTER 
Depends  on  whom  I  happen  to  be  with. 

JULIA 
Oh,  I  forgot  your  sugar. 

PORTER 
(Refusing  it) 
Doctor's  orders;  getting  old,  Julia. 

JULIA 
You'll  always  be  the  same  to  me. 

PORTER 

(Bantering  throughout) 
Sounds  discouraging  already. 

JULIA 

Discouraging?     You   didn't   intend   to   ask  me   to 
marry  you  again  ? 

PORTER 
You  haven't  married  me  once  yet. 


i24  THE  ROAD  TOGETHER 

JULIA 
I'm  a  better  friend. 

PORTER 
I  like  adventure. 

JULIA 
I  thought  you  were  seeking  peace  and  quiet. 

PORTER 

No;  I'm  seeking  a  wife.  They're  not  necessarily 
synonymous. 

JULIA 

But  peace  and  quiet  only  can  come  with  love,  nest- 
ce  pas? 

PORTER 

Nonsense.  There's  nothing  reasoning  or  reasonable 
about  love.  It  drags  people  together  who'd  be  much 
better  apart.  It  frequently  pulls  one  away  from  two 
and  makes  sixes  or  sevens.  It  steals  like  a  sneak  thief 
where  it  shouldn't  go  and  dodges  the  vacuums  where 
it  would  be  welcome.  Love  sometimes  raises  a  family, 
Julia — (Mock  confidentially) — but  more  often  it  raises 
the  devil.  And  when  our  law-makers  are  trying  to  pin 
it  down,  it  only  laughs  at  them.  Why  don't  these  anti- 
divorcers  and  preachers  and  professional  moralists  stop 
chiding  the  poor  creatures  in  love  and  try  to  devise  some 
apparatus  to  steer  the  pesky  thing  right?  I'll  patent  it 
and  give  it  to  humanity  without  royalty. 


THE  ROAD  TOGETHER  125 

JULIA 
(Amused) 

Tom,  I  know  just  where  I  can  use  that  idea  in  my 
new  novel. 

PORTER 
I  forbid  it  unless  you'll  marry  me. 

JULIA 

(She  shakes  her  head) 
Take  another  cigarette  instead. 

PORTER 

Hardly  a  substitute. — I'll  stop  making  love  if  you 
won't  go  abroad.  You  know,  I  don't  like  the  idea  of 
getting  plastery  picture  postal  cards  of  Corfu  in  the 
moonlight. 

JULIA 
(Musing) 

You  want  to  marry  me.  I  wonder  what  would  hap 
pen  if  /  had  what  I  sought  most? 

PORTER 

(Dryly) 

You  spend  too  much  time  anticipating  your  emo 
tions.  When  they  come,  you  have  already  lived  through 
them.  The  experience  itself  never  can  equal  such 
anticipation. 


i26  THE  ROAD  TOGETHER 

JULIA 
The  penalty  of  all  writers. 

PORTER 

Why,  you've  got  everything  now:  money,  beauty, 
temperament,  reputation;  everything  you  should  have. 

JULIA 
But  a  husband? 

PORTER 
I  offer  to  supply  the  deficiency. 

JULIA 

I'd  make  you  miserable.  Tom,  why  didn't  you  fall 
in  love  with  some  sweet  young  woman  with  pretty 
pink  ribbons  and  pussy-cat  ways? 

PORTER 

I  did.  But  she  refused  me;  fortunately.  (Whim 
sically  exaggerating)  Come  to  think  of  it,  I  guess  I've 
gone  through  the  entire  repertoire.  Every  time  an 
adorable  woman  broke  my  heart  I  read  the  history  of 
some  foreign  country  to  restore  me  to  my  proper  place 
in  the  universe.  When  we  suffer  we're  so  self-centered. 
I've  only  got  Persia  left.  (Sighing)  Please  save  me 
from  Persia.  I  hate  the  Shahs  with  their  sneezable 
names. 


THE  ROAD  TOGETHER  127 

JULIA 
(Smiling) 

You'd  forget  me,  as  you  have  the  others. 

PORTER 

This  is  my  finish — after  Persia.  (With  his  real 
feeling  escaping  for  the  first  time)  Why,  dear  Julia; 
don't  you  suppose  I  know  how  foolish  it  is  of  me  ask 
ing  you?  You  were  made  for  the  men  who  could 
shoot  you  to  the  stars  and  \vhirl  you  till  you  were  dizzy 
in  their  dust,  and  all  that  literary  sort  of  stuff.  But 
you'll  not  be  happy  that  way.  I'm  not  much  on  star 
dust.  Then  I'm  not  young  any  more.  Oh,  I  acknowl 
edge  it  officially.  I'm  only  one  of  the  wanderers  on 
the  streets  below  with  a  hand  waiting  to  help  a  woman 
just  a  little  now  and  then.  (Taking  her  hand)  I 
know  it's  foolish,  but  I'd  like  to  see  some  quiet  come 
into  that  restless  soul  of  yours;  I'd  like  to  make  you — 
quietly  happy.  That's  all. 

JULIA 

Quietly  happy!  (With  deep  feeling)  Don't  go  out 
of  my  life ;  I  need  you  '  just  around  the  corner  '  as 
you  said  to  Dora;  for  I'm  a  miserable  woman  at  times, 
struggling  with  impulses  which  drive  women  like  me 
to^.  But  you  steady  me.  You're  a  sort  of  habit. 
I  need  you.  I'd  have  tried  to  take  much  I  had  no  right 
to  if  you  hadn't  been  here.  (Impetuously  as  she  thinks 
of  WALLACE)  I  would  now  if — .  I  tell  you,  there's 
a  courage  that  accepts  but  a  greater  courage  that  dares. 


128  THE  ROAD  TOGETHER 

PORTER 

(Not  understanding) 
Julia! 

JULIA 

(Dismissing  it) 
Ah,  je  suis  egaree! 

PORTER 
Don't  know  what  it  is,  but  you've  got  it. 

JULIA 

(Laughing  again  as  her  mood  changes) 
Forgive  me.     Don't  say  anything  more  of  love;  but 
be  just  around  the  corner. 

PORTER 
(Resigned) 

You  can  do  the  Rock  of  Ages  act  all  over  me.  Grab 
hold  any  time;  I'll  let  you  cling  and  won't  call  for 
help. 

JULIA 
Tom,  I  could  kiss  you. 

PORTER 

But  something  always  happens  to  prevent.  (MAID 
knocks  and  enters.)  Didn't  I  tell  you? 

MAID 
I  beg  pardon. 


THE  ROAD  TOGETHER  129 

JULIA 
What  is  it? 

MAID 

I  forgot  to  say  Mrs.  Kent  telephoned  ten  minutes 
ago  that  she  was  on  her  way  over  to  see  you. 

JULIA 

(Surprised) 
Mrs.  Kent? 

MAID 
Yes,  ma'am. 

JULIA 

Let  her  come  right  in  here. 

(MAID  goes  out.  JULIA,  somewhat  puzzled 
by  this  announcement,  goes  slowly  to  the  lights 
and  switches  them  on.  PORTER  gazes  at  her  a 
few  seconds,  gives  a  little  sigh  as  though  realiz 
ing  the  uselessness  of  further  words.  Then  he 
looks  at  his  watch.) 

PORTER 

Goodness,  I  must  trot  along.  Promised  to  drop  in 
on  Armor.  I've  got  a  warm  place  in  my  heart  for 
that  brother  of  yours.  I'll  leave  you  and  Dora  here  to 
pow-wow. 

JULIA 
I  wonder  why  Dora's  coming  to  see  me? 


130  THE  ROAD  TOGETHER 

PORTER 

Perhaps  Wallace  had  to  go  to  his  office.  He's  got 
that  very  important  case  on. 

JULIA 

(As  she  abstractedly  puts  out  the  candles} 
But  don't  you  remember  ?    He  said  he  was  going  off 
this  evening  by  himself  to  Rosemoor. 

PORTER 

Oh,  yes;  that's  so.  Think  I'll  get  a  bungalow  like 
that  when  you've  gone. 

JULIA 
Rosemoor!     It's  such  a  pretty  name. 

PORTER 

Wallace  has  a  lot  of  sentiment  down  deep  which 
law  books  haven't  killed.  If  you'd  see  that  view  over 
the  valley  and  not  a  soul  to  share  it  with  him. 

JULIA 
(Wistfully) 

I've  always  thought  I'd  like  to  see  it  before  I  went 
away. 

PORTER 

But  he  plays  the  primitive  there  and  keeps  house 
himself.  It  takes  a  touch  of  poetry  these  days  to  get 


THE  ROAD  TOGETHER  131 

away  from  people  and  'phones. — Well,  I  must  be  going. 
Tell  Dora  I  couldn't  wait. 


JULIA 

Tom,  I've  been  waiting  for  you  to  tell  me  what 
happened  between  Fred  and  Dora. 

PORTER 

Dora  can  tell  that  better.     Perhaps  that's  why  she's 
coming  over. 

JULIA 

Fred's  gone  away? 

PORTER 
Yes;  he  sailed  at  noon. 

JULIA 
(Puzzled) 
But  how  did  she  make  him  go? 

PORTER 
(Smiling) 

Some  day,  I'll  let  you  know — if  she  doesn't. 

(DoRA  enters.  She  is  simply  dressed  and  wears 
a  scarf  over  her  head.  She  is  very  calm  and 
deliberate  throughout  with  a  certain  firm 
strength.  They  greet,  and  PORTER  takes  off 
her  cloak,  throwing  it  on  chair.) 


132  THE  ROAD  TOGETHER 

JULIA 

Come  near  the  fire,  Dora;  the  nights  are  still  chilly. 
( JULIA  crosses  to  fire  with  DORA)  I'll  send  for  some 
hot  coffee. 

DORA 
No;  thanks. 

PORTER 
Sorry  I  was  just  running  off. 

DORA 
Must  you? 

JULIA 
Tom's  going  to  see  Armor. 

DORA 

Then  take  my  taxi,  Tom.  But  send  it  right  back. 
I'll  only  be  here  a  few  moments. 

( JULIA  looks  surprised.) 

PORTER 
Thanks.     Any  messages  for  Armor? 

DORA 

Tell  him  I'm  glad  he's  going  to  conduct  the  C.  N.  Y. 
case. 

PORTER 

(Deeply  pleased) 
I  knew  Wallace  would  do  what  was  right  by  him. 


THE  ROAD  TOGETHER  133 

DORA 
Yes;  he  does  what  he  sees  is  right,  too. 

PORTER 

(Quietly  to  DORA  as  JULIA  has  crossed  to  desk  for 

some  letters) 
Was  worried  this  afternoon.    Good-bye,  little  girl. 

DORA 
You've  told  Julia  about  Fred? 

PORTER 
Only  that  he's  gone  away. 

DORA 

I  want  you  to  come  around  in  the  morning.     I  need 
some  advice  about  a  trip  I'm  going  to  take. 

PORTER 

(Surprised) 
Certainly. 

JULIA 

(Handing  him  some  letters) 

Tom,   will  you   mail   these?     Please   don't   forget 
them.    One  is  about  my  passport. 


134  THE  ROAD  TOGETHER 

PORTER 
(Taking  them) 

The  instrument  of  my  own  destruction,  eh?  (Look 
ing  at  it)  Sort  of  Greek  irony.  But  don't  worry,  I'll 
mail  it.  Bye-bye.  Rock  of  Ages  any  time  you're  will 
ing.  See  you  to-morrow,  Dora.  Bye-bye. 

(He  goes  out.  JULIA  follows  him  off  a  second. 
They  are  heard  talking.  DORA  is  left  alone. 
She  relaxes  a  moment  as  though  feeling  she  has 
not  the  strength  to  go  through  what  she  has 
apparently  determined  upon.  Her  eyes  fall 
upon  KENT'S  photograph,  which  is  with  some 
others  on  mantel.  She  takes  it  down  and  smiles 
at  it  enigmatically,  replacing  it  as  JULIA  re 
turns.  She  assumes  a  steely  exterior  as  JULIA, 
obviously  sensing  a  deep  reason  for  DORA'S 
coming,  closes  the  door  and  comes  down. 
There  is  a  pause.) 

DORA 
Wallace  has  not  been  here? 

JULIA 
(Surprised) 
Why,  no. 

DORA 

He  wrote  some  letters  but  went  out  before  I  did.  I 
thought 


THE  ROAD  TOGETHER  135 

JULIA 
Wallace  went  to  Rosemoor,  didn't  he? 

DORA 
Oh,  yes;  perhaps. 

JULIA 
How  did  you  think  he'd  be  here? 

DORA 

Because  I  told  him  to  go  to  you. 

JULIA 
You  told  him  to  see  me?    What  about? 

DORA 
Julia,  he  and  I  have  gone  on  the  rocks  at  last. 

JULIA 
I  don't  understand. 

DORA 
It's  very  simple.     It's  all  over  between  us. 

JULIA 

(Hardly  grasping  the  significance) 
What  do  you  mean? 


136  THE  ROAD  TOGETHER 

DORA 
He  doesn't  love  me. 

JULIA 
What  are  you  saying? 

DORA 
He  has  ceased  to  love  me. 

JULIA 

(With    mingled  emotions) 
Then — then  you  are  going  to  Fred? 

DORA 

(With  a  bitter  laugh) 
Going  to  Fred?    That's  over,  too. 

JULIA 

(Eyeing   DORA) 
But  why  did  you  send  Wallace  here? 

DORA 

Because  I  am  going  to  leave  him.  (  JULIA  gazes  in 
credulously)  You  said  you'd  like  to  have  had  a  chance 
for  happiness.  I  give  you  more  than  a  chance.  When 
he  and  I  came  to  talk  it  all  over  (With  difficulty) 
I  found  it — it  was  you  he  cared  for. 


THE  ROAD  TOGETHER  137 

JULIA 
Me? 

DORA 
Yes. 

JULIA 
Wallace  cares  for  me? 

DORA 

Yes;  and  he  knows  you  love  him. 

JULIA 
You  told  him  that? 

DORA 
(Firmly) 
Yes:  you  both  must  not  miss  your  happiness. 

JULIA 
It  isn't  so;  it  can't  be  so. 

DORA 
Would  I  lie  to  you  now  after  our  talk  yesterday? 

JULIA 

Wallace  loves  me!     He  loves  me — me! 

(JuLiA  sinks  down  in  the  chair,  half  dazed. 
DORA  stands  watching  her  without  emotion. 
JULIA  slowly  recovers;  there  is  a  long  silence 


138  THE  ROAD  TOGETHER 

then  she  gradually  looks  at  DORA  with  a  new 
thought.) 
And  you  ?    What  are  you  going  to  do  ? 

DORA 

I  told  you.    I'm  going  to  leave  Wallace.     (Bitterly) 
He  said  I  should  go  to  the  man  I  love. 

JULIA 
He  knows  about  Fred? 

DORA 

Yes.    But  he  thinks  I  love  Fred  and  that  I  am  going 
to  him.    Wallace  must  always  believe  that. 

JULIA 
But  that's  a  lie. 

DORA 
Isn't  it  better  to  lie  if  it  will  bring  you  happiness  ? 

JULIA 

You  believe  the  truth  might  separate  him  and  me? 
You  think  if  he  should  know  you  do  not  love  Fred 

DORA 

I  don't  wish  him  to  have  any  thought  of  me.     (Bit 
terly)  Even  men  pity  sometimes. 


THE  ROAD  TOGETHER  139 

JULIA 

(Incredulously) 
And  you  can  ask  me  to  keep  a  secret  like  that? 

DORA 
Most  women  keep  secrets  from  the  men  they  love. 

JULIA 

(Determined) 
No ;  he  must  know  the  facts. 

DORA 

But  his  happiness  lies  in  your  silence  about  Fred 
and  me. 

JULIA 
(Pointedly) 

And  what  of  my  happiness?  You've  put  a  fear  in  it. 
You've  settled  your  own  lives  but  I'm  the  factor  you 
don't  seem  to  have  considered.  (Resolutely)  No;  he 
must  understand  about  you  first,  or  I'd  always  be  ask 
ing  myself  afterwards  what  would  Wallace  have  done 
if  he'd  known  the  truth?  Would  he  have  left  Dora 
alone? — No,  no,  I  can't. 

DORA 
(Coldly) 
You  must  not  think  of  me. 


140  THE  ROAD  TOGETHER 

JULIA 

But  I  do,  Dora.  I  could  never  forget  you.  I'd  al 
ways  see  you  alone. 

DORA 

I've  always  been  helpless  Dora  to  you,  haven't  I? 
Just  because  I  wasn't  practical,  as  you  called  it.  But 
I  did  what  I  thought  was  the  greatest  thing  a  woman 
could  for  her  husband;  yet  in  his  wounded  pride  he 
thought  I  should  have  gone  to  Fred.  Oh,  not  from 
any  generosity  on  his  part;  but  because  I  had  stood 
between  you  and  him.  (  JULIA  surprised)  He  didn't 
realize  it  himself,  perhaps;  but  /  won't  be  in  the  way 
any  longer.  Never — never  could  I  live  with  him  after 
what  he  said  to  me.  I'm  leaving  him  for  good.  I 
would  even  if  you  were  not  concerned.  That's  why 
I've  come  to  ask  you  to  be  silent  about  Fred  and  me. 

JULIA 
The  lie  of  silence ! 

DORA 

Julia.  Be  fair  to  him.  I  gave  him  his  chance  by 
telling  him  you  love  him.  You  mustn't  rob  him  of  it. 
You  love  him,  don't  you?  ( JULIA  bows  her  head) 
Then  make  him  happy! 

JULIA 

(Rising  quickly) 

How  did  this  all  so  suddenly  come  about?  (Going 
to  her)  Dora,  was  it  because  I  told  you  what  he  meant 
to  me? 


THE  ROAD  TOGETHER  141 

DORA 

(Confused  a  second  at  the  abruptness) 
No. 

JULIA 
Nothing  he  did  or  said  about  me? 

DORA 

No;  nothing  he  said  about  you. 

JULIA 
It  wasn't  I  who  came  between  you  ? 

DORA 

(Evasively) 

No ;  it  simply  happened.  We  were  talking.  How  are 
things  ever  discovered?  Time  found  us  out.  Time's 
a  rummager,  isn't  it?  See  how  it  found  out  you  two 
loved  each  other. 

JULIA 

(Half  to  herself  as  she  sits  down  still  unable  to  grasp 

the  fact) 
That  we  two  love  each  other! 

DORA 

(Earnestly) 

Before  I  go;  before  you  see  him;  say  you  will  be 
silent  about  Fred.  ( JULIA  hesitates)  Think,  Julia, 
of  Wallace.  Don't  you  see  it's  best  he  should  believe 


i42  THE  ROAD  TOGETHER 

me  happy.  Make  it  easier  for  him  and  I'll  simply  step 
aside.  Come,  Julia,  say  you  will.  It's  not  a  falsehood 
I  ask ;  it's  only  silence. 

JULIA 

Silence  can  be  so  cowardly.  (Hesitates)  Yet — I — 
j 

DORA 

But  you  two  love  each  other.  It's  7  now  who  asks 
love  to  take  its  right — since  I  made  such  a  mess  of  mine. 
(JULIA  bows  her  head.  DORA  looks  at  her  and  sees 
she  has  practically  consented.)  I  wish  him  to  be  happy 
more  than  anything  else  in  the  world. 

JULIA 
(Quickly) 
Dora!     You  love  him! 

DORA 

No,  no,  no !  He  killed  everything  in  me.  I'll  prove 
it  when  the  time  comes. 

JULIA 

(Stands  confused) 
You  love  him! 

DORA 

No. 

(A  knock  is  heard  on  the  door.) 


THE  ROAD  TOGETHER  143 

JULIA 
What  is  it? 

(MAID  opens  the  door.) 

MAID 

Mr.  Kent  is  here. 

(There  is  a  tense  moment.  JULIA  looks  in 
quiringly  at  DORA,  who  quickly  decides  what 
to  do.) 

DORA 
(Calmly) 
Let  him  come  in,  Julia. 

JULIA 

(Confused) 
But 

DORA 
(Firmly) 
We  three  must  understand  one  another. 

JULIA 

(Trying  to  gain  composure) 
Ask  Mr.  Kent  to  come  in.     Put  a  log  there. 

(MAID  goes  over  to  fire  and  puts  on  another 
log  which  blazes  cheerfully.     They  half  watch 
her  during  the  ominous  silence.) 
Tell  Mr.  Kent  that  Mrs.  Kent  is  here  with  me.     I 


144  THE  ROAD  TOGETHER 

sha'n't  need  you  any  more  to-night.  (MAID  goes  out, 
leaving  the  door  open)  It's  best  Wallace  knows  you 
are  hjre. 

DORA 

He  will  not  go  away.  And  he  will  want  you  to 
know  I  do  not  love  him.  (She  stands  by  fire  warming 
her  hands)  The  fire  is  good. 


JULIA 

I'm    burning.      (Turning    away;    half    to    herself) 
What  shall  I  do?     (After  a  pause)  And  this  is  Dora. 


DORA 

(Simply) 
One  changes. 

(There  is  a  further  silence  till  KENT  enters 
slowly  as  though  the  fact  that  DORA  is  there 
has  made  him  hesitate.  He  closes  the  door  and 
stands  looking  at  the  two  women.  He  cannot 
conceal  entirely  the  bitterness  of  the  previous 
scene  with  his  wife.) 

Again,  it's  a  bit  ironical,  isn't  it,  Wallace?  (He  is 
silent)  But  there  need  be  no  embarrassment  on  my 
account. 

KENT 
I  came  to  say  good-bye  to  Julia. 


THE  ROAD  TOGETHER  145 

DORA 
I  knew  you  would  come. 

KENT 
And  your  reason  for  being  here? 

DORA 
To  tell  her  what  she  means  to  you. 

KENT 

(Emphatically) 
I  did  not  come  to  talk  of  that. 

DORA 

When  I  told  you  she  loved  you,  you  said  it  wasn't 
true.  Ask  her  now. 

KENT 

Believe  me,  Julia,  I  did  not  come  to  ask  any  ques 
tions;  as  you  shall  see  before  I  go. 

DORA 

Ask  her.  I  want  everything  clearly  understood. 
(KENT  in  silence,  looks  towards  JULIA,  who  sinks  into 
the  chair,  burying  her  face  in  her  hands)  You  see, 
Wallace. 

KENT 
Well,  Dora,  is  that  all? 


H6  THE  ROAD  TOGETHER 

DORA 

No.  I'm  thinking  we'd  best  talk  the  matter  over 
quietly. 

KENT 
Here? 

DORA 

Why  not  ?  It  would  have  to  be  some  time  and  now 
it  will  be  finished  sooner.  There  must  be  no  skeins 
to  unravel  later  among  us  there;  we  must  understand 
one  another  now.  Won't  you  sit  down,  Wallace  ? 

(KENT  hesitates,  but  seeing  the  cold  determina 
tion  in  DORA'S  manner,  he  goes  slowly  to  the 
other  side  of  the  table.  After  glancing  at 
JULIA,  who  is  in  the  deep  chair  gazing  tensely 
before  her,  he  draws  back  the  chair  and  sits 
upon  it.  After  this  is  done,  DORA  goes  to  the 
other  chair  back  of  table,  between  them.  The 
light  from  the  lamp  falls  upon  the  three.) 
Wallace,  Julia  knows  that  you  and  I  have  gone  on 
the  rocks. 

KENT 

(Referring  to  the  political  deal) 
Is  that  all  you've  told  her? 

DORA 
Yes. 

KENT 

(Significantly) 
Nothing  else,  Julia? 


THE  ROAD  TOGETHER  147 

DORA 
(Quickly) 
You  doubt  my  word? 

JULIA 

(Looking  up  suspiciously) 
What  else  was  there  I  should  know? 

DORA 

(Clearly) 
Nothing. 

KENT 

Then  you  had  no  other  reason  for  coming? 

DORA 

(Firmly) 

Yes :  I  came  to  tell  Julia  that  I  was  going  to  the  man 
I  love,  so  that  you  and  she  should  face  the  future  with 
out  thought  of  me — together. 

KENT 
( Sarcastically  ) 

I  could  have  told  her  that,  if  ever  the  time  should 
come. 


148  THE  ROAD  TOGETHER 

DORA 

It  was  right  /  should  do  that  much  for  her,  since  I 
am  going  to  be  happy,  too. 

KENT 
Happy?    You're  sure  of  that,  eh? 

DORA 

Would  your  vanity  desire  me  to  suffer  in  losing 
you?  You've  shown  me  once  today  that  pride  is  as 
deep  and  cruel  as  love. 

KENT 
I  was  harsh,  perhaps;  but 

DORA 

Don't  have  any  regret  now.  I  have  none,  at  leav 
ing  you.  (He  winces)  But  I  desire  Julia  to  under 
stand  how  far  you  and  I  are  apart. 

KENT 

(Bitterly) 
Is  that  all  you  have  to  say  ? 

DORA 

(Concealing  from  them  her  suffering) 
No.     I  have  a  further  word  to  add  to  my  confes 
sion.     It  wasn't  really  the  thought  of  you  and  your 


THE  ROAD  TOGETHER  149 

career  that  made  me  stay  with  you,  as  I  said.  I  stayed 
because  I  hadn't  the  courage  to  go  through  all  that  was 
necessary.  I  stayed,  like  so  many  other  wives,  because 
it  was  easier. 

KENT 
(Disgusted) 
That  destroys  everything  between  us. 

DORA 
I  meant  it  to. 

(She  rises  and  turns  away.) 

KENT 
(Coldly) 
There  will  be  essential  affairs  to  talk  over. 

DORA 

When  you  come  back  from  Rosemoor  will  be  time 
enough.  Now  I'm  through  here. 

KENT 

(Coldly) 
What  do  you  intend  to  do? 

DORA 

I  shall  go  West  to  my  cousin.  I'll  stay  the  requisite 
time  for  the  divorce.  Perhaps  Tom  will  advise  me. 
We'll  both  go  through  the  usual  mockery :  desertion  and 
all  that.  Then  life  will  begin  again. 


150  THE  ROAD  TOGETHER 

KENT 

(Cut,  but  puzzled  by  her  manner) 
After  all  these  years,  you  can  say  only  that? 

(JuLlA  looks  up  slowly  and  inquiringly  at  him 
as  though  wondering  whether  he  has  feeling  for 
DORA.  Over  DORA'S  face  there  is  a  momentary 
glance  of  tenderness  which,  under  JULIA'S  in 
quiring  look,  assumes  coldness  as  before.) 

DORA 

Yes,  Wallace.    I'm  glad  it's  over.    That's  all  there 
is  left.     Good-bye. 

(She  picks  up  her  long  scarf,  puts  it  about  her.) 

KENT 

(Abruptly) 

And  Gilmore?    You  didn't  tell  Julia  about ? 

DORA 
(Quickly) 
No,  Wallace.    Let  that  be  between  us. 

KENT 

(Scornfully) 
More  lies! 

JULIA 

(Starting  up) 
Lies? 


THE  ROAD  TOGETHER  151 

KENT 
Yes.     Rotten  lies. 

DORA 

(Nervously) 
Wallace! 

KENT 

I  said  I  didn't  come  here  to  talk  of  love.  I  came  for 
only  one  purpose:  to  tell  Julia  about  Gilmore  and 
Tainter,  and  what  had  happened  between  us. 

DORA 
Why  say  anything? 

JULIA 

(Quickly,  rising} 

Then  there  was  something  that  brought  about  the 
break  between  you? 

DORA 
I  told  you  everything,  Julia. 

JULIA 
You  told  me  nothing. 

DORA 
But  it  hadn't  anything  to  do  with  you. 

KENT 

No.  It  was  something  wrong  with  me.  I've  writ 
ten  my  resignation,  Julia.  My  career  is  done,  finished, 
thrown  aside. 


152  THE  ROAD  TOGETHER 

JULIA 
(Quickly) 

You  feared  some  scandal  would  result  in  coming  to 
me  as  Dora  once  feared  it  in  going  to ? 

DORA 

(Confused  at  new  turn  of  situation) 
No!     No!     Nothing  like  that. 

JULIA 

It  was  something  to  do  with  me.     I  came  between 
you. 

KENT 

(Sarcastically) 
I  gave  it  all  up  for  Dora's  justification. 

JULIA 

(Recalling) 
Justification ! 

KENT 

Tell  her,  Dora,  I  faced  an  alternative ;  to  stop  meant 
financial  ruin. 

JULIA 
And  you  stopped? 

KENT 
Yes ;  we  are  ruined,  on  the  streets  without  a  penny. 


THE  ROAD  TOGETHER  153 

JULIA 

(Astonished) 
Then  Dora  has  nothing? 

KENT 
(Bitterly) 
You  forget  she  has  the  other  man! 

JULIA 
(Starting  to  reveal  the  truth) 

But 

DORA 

(Stopping  her) 
Hush!    Your  happiness  should  be  your  first  thought! 

JULIA 

(Hesitating) 
Oh! 

KENT 

You  said,  Dora,  we  were  to  talk  it  over  calmly  in 
order  that  Julia  and  I  should  start  straight.  I  intend 
to  see  whether  you  and  I,  Julia,  can  ever  start  at  all. 

DORA 

(Desperately  trying  to  stop  him) 
Wallace! 

JULIA 
Whether ? 


154  THE  ROAD  TOGETHER 

KENT 
(Bitterly  to  DORA) 

You  came  here  tonight  to  arrange  matters.  Per 
haps  you  didn't  trust  me.  So  tell  her  about  Gilmore 
and  all  the  rest. 

DORA 

Wallace,  will  you  be  silent  about  that?  That's  ours 
— ours.  I  have  the  right  to  ask  some  silence  of  our  life 
together. 

KENT 

But  first  tell  her  I'm  a  crook;  a  bribe-taker;  any 
thing  you  choose  to  call  it. 

JULIA 
Wallace! 

DORA 

(Noting  JULIA'S  reaction  and  defending  him) 
That  isn't  so,  Julia. 

KENT 

( Sarcastically  ) 

Tell  her  it's  intention  that  makes  crime.  Tell  her, 
as  I  was  going  to,  that  you  discovered  I  wasn't  quite 
the  ideal  man  you  thought  me.  Strip  me  to  her  as  you 
stripped  me  to  myself.  Tell  Julia  all,  so  she  may  know 
how  the  crooked  deal  came  out  and  with  it  the  lies, 
the  whole  rotten  lies  we  were  all  living. 


THE  ROAD  TOGETHER  155 

JULIA 
(Confused) 
Something  crooked! 

KENT 

Yes.  You'll  have  to  know,  Julia.  I'll  spare  details 
now,  but  the  fact  is  there.  I  want  the  decks  cleared 
between  you  and  me,  and  between  me  and  myself. 

DORA 

No,  no;  Julia,  he's  exaggerating.  He  didn't  do  any 
thing  dishonest.  He  was  merely  forced  to  consider  it — 
was  tempted.  It  was  my  fault;  my  extravagances. 
We  needed  money 

KENT 
Bah!    I  don't  want  that  defense! 

DORA 
(Forcibly) 

But  you  didn't  do  anything  wrong,  did  you?  You 
didn't  do  it. 

KENT 

(Bitterly) 
Thanks  to  you,  I  didn't. 

JULIA 
(Who  has  listened  spellbound  and  is  slowly  grasping 

situation) 
You  stopped  him,  Dora?    And  it  all  came  out? 


156  THE  ROAD  TOGETHER 

DORA 
(Quickly) 

We  talked  it  over  as  you  will  all  the  common  prob 
lems  and  difficulties  when  you  are  married.  This 
mustn't  come  between  you  as  it  did  between  us.  That's 
all. 

KENT 

(Emphatically  and  with  sincerity) 

That's  not  all.  I  was  going  crooked,  slipping  into 
the  very  class  of  men  it  is  my  business  to  put  behind 
the  bars.  I  was  weak,  wabbly,  and  a  coward;  afraid 
to  face  myself  with  the  truth  till  she  toppled  over  our 
life  together  to  make  me  see  it.  That's  what  I  was. 
(DoRA  watches  him  with  joy  at  his  change)  But  I've 
got  hold  of  myself  in  time.  I  must  prove  to  myself  by 
work  and  accomplishment  that  I  did  not  need  a 
woman's  sacrifice.  I  must  clean  the  rot  and  rust  out 
of  my  life;  my  insincerities,  self-deceptions,  hypocrisies 
— all.  I  must  build  an  honest  foundation.  I  must 
take  life  by  the  throat  and  make  it  give  me  what  I  need. 
That's  what  I  came  to  tell  you,  Julia;  not  to  talk  of 
love. 

DORA 

Don't  be  the  fool  you  said  I  was.  Don't  cheat  your 
self  and  Julia  by  waiting.  I'm  not  in  the  way  now. 
I've  done,  finished.  Julia,  tell  him  you  want  him  to 
stay. 


THE  ROAD  TOGETHER  157 

JULIA 

(Impulsively) 

Not  till  he  also  knows  all  the  truth  about  Fred. 
Then  he  may  choose. 

DORA 

(Frantically) 
Julia!    Julia! 

JULIA 
Maybe  he  won't  want  me  when  he  knows. 

KENT 

(Not  understanding) 
Won't  have  you? 

DORA 
Julia,  you'll  spoil  everything. 

JULIA 

Maybe  he  won't  want  me  when  he  knows  I  tried  to 
separate  you,  and  failed — failed.  Wallace,  Dora  does 
n't  love  Fred.  She's  sent  him  away  forever.  She'll 
never  marry  him ;  she's  going  through  divorce  only  for 
us!  She'll  be  alone,  alone 

KENT 

Dora,  alone! 


158  THE  ROAD  TOGETHER 

JULIA 

(Detecting  the  note  of  pity  in  his  voice) 
You  pity  her,  too! 

KENT 

(In  spite  of  himself) 
Why  didn't  you  tell  me  that? 

DORA 

(Defiantly) 

Why  should  I  tell  you?  Why  do  you  give  me  pity 
when  you  refused  to  accept  mine?  Is  that  your  idea 
of  me?  Is  that  all  you  think  /  need?  Can't  I  also 
stand  alone,  as  you  said  you  could  have?  Do  you 
expect  me  to  take  your  pity  proudly  and  let  it  cheat 
love?  Is  that  the  sort  of  woman  you  think  I  am? 
It's  you  who  are  now  insulting  me. 

JULIA 

(As  she  sees  KENT  stands  spellbound  eyeing  DORA) 
She  loves  you,  Wallace.     She  loves  you. 

DORA 

(Desperately) 
After  what  he  said?    No!     No! 

JULIA 

Yes,  yes!  You  want  him  to  be  happy  above  all 
things.  That's  love.  You're  breaking  your  heart  to 


THE  ROAD  TOGETHER  159 

do  it.     Let's  have  the  whole  truth.     Then  he  may 
choose. 

KENT 
Dora? 

JULIA 
You  love  him.    I  see  now  you've  always  loved  him. 

DORA 

(Fiercely) 

Well,  what  if  it  were  true  ?    What  if  I  were  break 
ing  my  heart  ?    What  if  I  do  love  him  ? 

KENT 
Dora! 

DORA 

(Bitterly  to  JULIA) 
What  has  that  to  do  with  you? 

JULIA 

(Shuddering) 
I  can't  think  of  his  leaving  you  alone  now.    I  can't. 

DORA 

(Fervently   throughout) 

Why  not?    Why  not?    Can't  you  take  him  on  that 
basis? 

JULIA 
Oh! 


160  THE  ROAD  TOGETHER 

DORA 

It  was  easy  to  believe  love  was  everything  until  you 
had  to  make  the  choice.  You  blamed  me  for  sending 
Fred  away,  but  you  hesitate  to  take  your  love  and  you 
deny  Wallace  the  rights  of  his  love.  ( JULIA  tries  to 
stop  her  throughout)  You  called  me  a  coward  because 
I  was  true  to  what  I  thought  was  right  when  I  felt 
there  was  something  more  in  marriage  than  the  mere 
passion  that  comes  and  goes  and  which  we  can't  con 
trol.  You  thought  I  should  have  gone  to  Fred  and  left 
my  husband,  only  because  you  wanted  him.  I  tell  you 
there  is  nothing  in  the  way  now  of  his  leaving  me. 
You  can  go  with  him,  and  if  you  will  not  take  what 
life  has  offered  you,  I  will  ask  which  of  us  two  is  the 
greater  coward! 

KENT 
Dora,  listen ! 

DORA 

(Turning  to  KENT) 

And  you  pity  me  now;  you  who  also  blamed  me,  and 
burned  your  words  in  my  soul  so  I  can  never  forget 
them.  You  also  thought  all  the  years  together  were 
as  nothing;  that  only  passion  counted;  not  the  hours 
we  had  served  each  other  in  sickness,  not  the  joys  and 
sorrows  we  had  in  common,  not  all  that  I  shared 
and  sacrificed  to  make  your  career  possible.  They 
meant  nothing,  because  you  couldn't  understand  the 
difference  between  a  theory  of  life  and  what  actually 
was.  You  swept  all  away  since  I  wounded  your  pride 


THE  ROAD  TOGETHER  161 

by  telling  you  another  man  had  caught  for  a  moment 
my  imagination  when  we  were  careless  and  unwatch- 
ful;  and  yet  because  I  continued  to  live  with  you,  and 
thought  you  had  the  greater  claim,  you  called  me 
wanton. 

JULIA 

(Sinking  in  chair  and  covering  her  face) 
Oh! 

KENT 
Dora,  for  God's  sake,  stop! 

DORA 

Yes,  wanton!  Because  I  took  your  pretty  things, 
your  food  and  lodging  and  gave  myself  in  return. 
Yes,  those  were  your  very  words.  You  measured  me 
and  what  I  gave  by  the  standards  of  street  women; 
you  forgot  what  I  was  willing  to  give  to  you ;  forgot  I 
was  faithful,  forgot  everything. — I  tried  to  keep  all 
this  back,  but  now  you  know  all  the  facts;  everything 
is  unravelled;  there  are  no  secrets.  Throw  me  aside 
now,  Wallace,  as  Julia  thought  I  should  have  thrown 
you  aside.  Take  her,  as  you  said  I  should  have  taken 
my  '  poor  weak  fool.'  I've  done  everything  I  could 
to  give  you  your  chance  for  happiness  together,  as  you 
said  you  would  have  given  me.  Don't  do  as  I  did :  sac 
rifice  and  pity;  or  Julia  will  despise  you  as  she  always 
has  me  in  her  heart  for  what  I  chose.  Do  everything 
from  now  on  as  you  both  thought  /  should  have  done 
when  I  faced  the  same  situation  you  now  face.  I'll 


1 62  THE  ROAD  TOGETHER 

never  interfere  with  whatever  you  choose  to  take  of 
life  together  before  I  am  free.  Take  everything! 
(Slowly)  If  you  can. — If  you  can! 

(She  goes  out,  closing  the  doors.  Then  JULIA 
and  WALLACE  turn  and  gaze  at  each  other  in 
question.) 

CURTAIN 


THE    FOURTH   ACT 


THE  FOURTH  ACT 

The  same  as  the  First  Act.  .  .  .  A  morning  ten  days 
later. 

The  room  is  now  dismantled  and  everything  is  ready 
to  be  moved  out.  Barrels,  boxes,  and  packing-baskets 
have  taken  the  place  of  the  furniture.  The  window-cur 
tains,  through  which  DORA  has  gazed  so  often  in  all  the 
varying  moods  of  her  marriage,  are  down — even  the 
brass-poles  and  brackets  have  been  removed;  nothing 
veils  the  view  to  the  clear  skies  without.  Faint  oblong 
shadows,  where  once  the  pictures  hung,  are  seen  upon 
the  cold  and  distant  walls.  Those  who  had  known  the 
room  would  sense  the  subtle  atmosphere  of  protest 
which  inevitably  comes  with  the  wrenching  of  material 
things  from  their  human  relationship.  It  is  only  the 
silver  loving-cup,  upon  the  piano,  which  seems  to  have 
escaped  the  desecrating  hand.  No  longer  does  one 
view  a  home;  it  is  just  a  place  where  people  still  linger. 
Yet,  somehow,  it  is  a  symbol;  a  visible  statement  of 
what  happens  in  the  universal  rhythms  of  life,  where 
only  through  the  breaking-up  of  the  old  can  one  move 
on  to  new  adjustments. 

DORA  enters,  simply  dressed.  There  is  quiet  sad 
ness  in  her  manner  cloaked  by  an  obstinate  resolve. 
She  looks  about  as  though  recording  the  new  desola 
tion;  but  controls  herself.  Then  she  goes  to  the  fold 
ing-doors,  which,  as  she  opens  them,  expose  the  other 

165 


1 66  THE  ROAD  TOGETHER 

room  in  the  same  condition,  with  some  packers,  super- 
intended  by  WOODS,  methodically  finishing  their  task. 

DORA 

Woods.     (He  comes  down,  closing  the  doors  again) 
Is  everything  packed? 

WOODS 
They  begin  moving  out  shortly. 

DORA 
I  hope  they've  been  careful. 

WOODS 

They  know  people  may  use  the  furniture  again  in 
time. 

DORA 
(Evasively) 

We're  only  going  to  store  it  over  the  summer.    Has 
Mr.  Kent  'phoned? 

WOODS 
No,  Mrs.  Kent. 

DORA 

(Protecting  him) 
He's  fortunate  to  miss  this. 

WOODS 
I've  seen  to  everything  myself. 


THE  ROAD  TOGETHER  167 

DORA 

You've  been  very  good  and  faithful.  You  know 
I'd  have  been  lost  without  you. 

WOODS 
(Venturing) 
One  learns  a  lot  about  people  in  ten  years. 

DORA 
Ten  years!    So  it  is. — I'm  sorry  to  lose  you. 

WOODS 
My  profession  is  not  a  permanent  one. 

DORA 

I  wish  we  could  have  made  it  so.  Mr.  Porter  says 
he  will  place  you ;  so  you  will  lose  nothing. 

WOODS 

Thank  you.  (Significantly)  And  your  room  up 
stairs  ? 

DORA 

We'll  leave  that  till  the  last.  Mr.  Kent  would 
wish  it. 

WOODS 

(Looking  about) 

It  isn't  easy  to  move  after  ten  years;  so  much  rub 
bish  collects  in  a  house ;  one  never  suspects  how  it  gets 
there. 


168  THE  ROAD  TOGETHER 

DORA 
Yes;  lots  of  rubbish. 

WOODS 

It's  only  when  we  tear  up  we  really  know  what  we 
have  and  what  we  haven't. 

DORA 
That's  true,  Woods. 

WOODS 

I  beg  your  pardon — (She  turns) — but  I  did  not 
know  whether  you'd  wish  that  loving-cup  packed.  I 
remembered  your  wedding  anniversary  comes  next 
week. 

(She  looks  at  it  standing  forlornly  on  the 
piano.  He  glances  at  her  and  she  is  silent. 
He  bows  and  goes  out.  It  has  seemed  as 
though,  for  a  moment,  they  had  met  and  subtly 
understood  each  other. 

She  moves  toward  the  loving-cup,  puts  her 
hand  on  it  half -affectionately  and  full  of  impli 
cation.  Then  she  shrugs  her  shoulders,  trying 
to  shake  off  the  memories  it  recalls. 

PORTER  enters.  He  is  very  cheerful  on  the 
surface  but  there  is  an  underlying  strain  of  the 
situation.) 

DORA 
Tom,  I'm  glad  you've  come.    I  was  lonely. 


THE  ROAD  TOGETHER  169 

PORTER 

Everything  ready? 

DORA 

Almost. 

PORTER 

That's  good.  I've  been  busy  getting  matters  in 
order  for  you.  (He  sits  on  a  box,  and  takes  a  lot  of 
papers  out  of  pocket)  I  went  first  to  the  Trust  Com 
pany  and  find  you  can  have  your  income  sent  you  in 
monthly  installments  instead  of  semi-annually. 

DORA 

That's  better.  (Smiling)  Now,  I'll  be  poor  only  a 
few  weeks  each  month. 

PORTER 
Then  I  went  to  the  lawyers'. 

DORA 

You  didn't ? 

PORTER 

Mention  any  names?  Oh,  no.  So  I  suppose  they 
thought  I  was  in  love  with  a  married  woman. 

DORA 

Imagine  you. 


i;o  THE  ROAD  TOGETHER 

PORTER 

I  was  once — but  only  once.  It's  a  troublesome  lux 
ury. — I  find  you'll  need  to  go  West ;  rent  a  house  or  a 
flat.  Stay  six  months.  Of  course,  you  can  travel 
while  you're  staying  there.  It's  all  here.  (Leaves 
papers  on  box)  You  can  read  them  later. 

DORA 

(Wistfully) 
How  do  I  get  there? 

PORTER 

Got  the  time-tables.  ( Takes  out  four  colored  time 
tables  which  he  also  leaves  upon  box)  Four  routes; 
take  whichever  color  looks  prettiest. 

DORA 

(Absently) 

I've  never  been  so  far  alone  before.  (Pauses) 
What  about  this  house? 

PORTER 

That's  all  fixed.  Quite  unexpectedly  got  somebody 
to  sub-let  it  and  turn  it  into  a  store. 

DORA 

(Half  shuddering) 
What  kind  of  a  store? 


THE  ROAD  TOGETHER  171 

PORTER 

Women's  garments;  you  know,   with  lace  on  the 
pretty  things  that  aren't  seen. 

DORA 

(With  a  faint,  ironical  smile) 

Pretty  things?     I  wish  it  had  been  something  else. 
— You  have  looked  after  everything,  Tom. 

PORTER 

Had   to,    since   you    threatened    to   do   it   yourself. 
(Absently)  You  never  will  learn. 

DORA 

(Hopelessly) 
Won't  I? 

PORTER 

(Affectionately) 
Not  as  an  expert,  I  mean.     But  just  call  on  me. 

DORA 
How  can  I  always  do  that? 

PORTER 
I  haven't  anybody  now  myself  and 

DORA 

(Affectionately) 
You're  a  little  friend  of  the  whole  world. 


172  THE  ROAD  TOGETHER 

PORTER 

Truck  and  nonsense.  Dora,  this  has  sort  of 
knocked  me  out,  too.  But  I  like  to  keep  busy.  I'm 
lonely  myself,  at  times.  But  one's  never  too  lonely  if 
he's  working  for  the  happiness  of  what  lies  nearest.  So 
I'm  not  doing  this  only  for  you;  but  for  her  also. 
She'd  wish  it. 

DORA 
Julia  is  a  fine  woman. 

PORTER 

How  she  and  Wallace!  (With  a  sigh)  Well,  no 
wonder  she  wouldn't  marry  an  old  duffer  like  me. 
(She  takes  his  hand  affectionately)  So,  little  girl, 
we've  got  to  help  each  other,  you  and  I.  We're  left 
behind.  They're  not  going  to  see  sad,  weepy  faces  if 
they  look  back,  are  they  ?  We're  going  to  buck  up  and 
show  them  we're  game.  I'll  have  you  to  look  after,  if 
you'll  let  me  be  '  just  around  the  corner.'  That's  what 
Julia  said.  But  she  doesn't  need  me  and  you  do  a  bit, 
eh?  Guess  I  need  somebody  to  look  after,  too.  No 
sad  faces,  eh?  We're  game,  eh? 

DORA 
It  hurts,  doesn't  it? 

PORTER 
I've  had  pleasanter  sensations. 


THE  ROAD  TOGETHER  173 

DORA 
But  you  think  I've  done  right? 

PORTER 

(Slowly) 

Whoever  knows  what  is  right?  The  answer  always 
lies  so  many  years  ahead. 

DORA 

That's  so,  Tom.  Yet  there  are  many  people  who 
are  always  ready  to  blame  and  judge  others.  They 
forget  every  one  marries  to  be  happy,  but  no  one  can 
ever  tell  what  the  future  holds.  (Smiles  faintly)  I'm 
beginning  to  think  husbands  and  wives  should  have  a 
lot  of  sympathy  for  each  other  when  things  go  wrong ; 
but  most  of  them  have  only  bitterness.  And  I'm  like 
the  rest. 

PORTER 

If  I  only  could  get  that  patent  to  steer  love  right! 
Here  we  all  are.  We're  pretty  decent  people — at  least, 
we  all  had  good  intentions.  Yet  look  how  love  has 
tangled  us  all  up,  and  not  one  of  us  really  at  fault. 

DORA 

I  thought  I  was  somebody  of  importance  to  both 
Fred  and  Wallace.  I  was  mistaken.  Each  would 
have  been  what  he  is  without  me.  Yet  I  must  have 
hindered  Wallace  instead  of  helping  him. 


174  THE  ROAD  TOGETHER 

PORTER 
Nonsense,  Dora. 

DORA 

Why,  look  how  dependent  I  am  even  on  you.  It's 
easy  to  say  you  can  live  alone  and  all  that.  It's  so  dif 
ferent  when  you're  suddenly  face  to  face  with  your 
self.  I  never  realized  before  how  absolutely  helpless 
I  was  about  these  practical  matters.  Wallace  always 
tended  to  everything.  (Almost  shyly)  I've  felt  so  lost 
these  last  days.  I  miss  his  being  around.  I'd  grown 
so  used  to  turning  to  him.  I  haven't  shed  a  tear,  but  I 
catch  my  breath  when  I  realize  I've  got  to  be  all  alone 
now. — What  is  it,  Tom,  that  makes  me  feel  so  all 
alone  ? 

PORTER 
Let's  call  it  habit,  my  dear ;  the  habit  of  ten  years. 

DORA 
I've  been  hunting  the  word ;  habit,  that's  it. 

PORTER 

It's  stronger  than  love  sometimes  and  gains  its  pur 
pose  just  as  effectively. 

(WooDS  enters.) 

WOODS 
Mr.  Deer  ing  is  here. 


THE  ROAD  TOGETHER  175 

DORA 
(Assents  and  WOODS  goes  out) 

I  promised  Armor  he  should  have  some  of  the  cut 
glass  and 

PORTER 
Funny  where  Julia  is.    Perhaps  he  knows. 

DORA 

(Betraying  nothing) 
Perhaps. 

PORTER 

Another  of  her  sudden  impulses,  I  suppose:  to  take 
a  wild  motor  trip  at  this  time. 

DORA 
(Probing) 
You've  not  heard  from  her? 

PORTER 

I've  received  a  half-dozen  postal  cards  mailed  from 
different  parts  of  the  state. 

DORA 
(Puzzled) 
Different  parts  of ? 

PORTER 

Suppose  she  wishes  me  to  get  used  to  the  postal-card 
habit.    When's  Wallace  coming  back  from  Rosemoor? 


1 76  THE  ROAD  TOGETHER 

DORA 

I  don't  know.     I've  told  no  one  where  he  is.     He 
hasn't  'phoned. 

(DORA  is  apparently  puzzled.  ARMOR  DEER- 
ING  comes  in,  very  cheerful.  They  exchange 
greetings. ) 


DEERING 
(Looking  about  room) 


Whew! 


DORA 
I'll  show  you  what  I  have. 

DEERING 

I  came  ahead;  I'm  on  my  way  down  to  the  steamer. 
Can't  I  look  over  the  things  later? 

PORTER 
Steamer  ? 

DORA 
It  won't  take  a  moment. 

PORTER 
Which  steamer? 

DEERING 

Julia's,  of  course.  (  PORTER  and  DORA  exchange 
glances)  Yes.  Julia  blew  in  on  me  last  night. 
Threw  her  arms  around  me  and  wept.  And  then 


THE  ROAD  TOGETHER  177 

said  she  was  sailing  at  noon.  I  thought  her  trip  was 
all  up,  motoring  more  than  a  week  before  she  started ; 
so  I  went  around  with  her.  She  hasn't  packed  a 
blessed  thing;  said  she'd  forgotten  it.  Guess  it's  some 
more  temperament. 

PORTER 

(Thoughtfully) 
So  she  is  sailing. 

DEERING 
(Surprised) 
Didn't  she  tell  you  ? 

PORTER 
Got  the  days  mixed. 

DORA 

(Going  up) 
If  you'll  come  now. 

DEERIXG 
Sure  I'm  not  stealing  from  you? 

DORA 
Not  at  all. 

(She  is  seen  in  back  among  things.) 


178  THE  ROAD  TOGETHER 

DEERING 

Don't  know  how  we're  going  to  live  up  to  our  wed 
ding  presents  on  my  income. 

PORTER 
You've  done  those  Railroad  fellows,  eh? 

DEERING 

Yes.    When  they  saw  the  evidence  I  had,  they  had 
to  agree  to  plead  guilty  in  a  lower  degree. 

PORTER 

(Enthusiastically ) 
And  all  on  your  own  hook,  too. 

DEERING 
I  can't  understand  Mr.  Kent  not  appearing. 

PORTER 
Wished  you  to  get  the  limelight. 

DEERING 
(Modestly) 
It  isn't  good  for  a  young  man's  eyes. 

PORTER 
Give  me  your  hand. 


THE  ROAD  TOGETHER  179 

DEERIXG 
It's  been  hammered  to  pieces  nailing  their  lies. 

PORTER 

It's  only  the  beginning  with  you,  my  boy.     (Affec 
tionately)  Go  straight! 

DEERIXG 

I  must:  to  show  Mr.  Kent  how  much  I  appreciate 
what  he's  done  for  me.    When  will  he  be  back  ? 

PORTER 
When  this  moving  is  over. 

DEERIXG 
(Looking  about) 
Say,  moving  must  be 

PORTER 
It  is. 

DORA 

(In  back) 
Armor ! 

DEERIXG 
(Smiling) 

Ought  to  get  married,  Mr.  Porter,  really  you  ought. 
(DEERING  goes  up  with  DORA  and  then  they 
pass  out  of  vision.) 


i8o  THE  ROAD  TOGETHER 

PORTER 

Can't  understand  why  everybody  wants  to  marry  the 
bachelors  off.  (Looks  about  the  room)  Too  bad! 
After  ten  years. 

(KENT  enters  quietly.     He  is  worn.     He  looks 
about  and  controls  himself.    PORTER  turns;  they 
see  each  other;  he  pulls  the  door  to  and  comes 
down.) 
Dora  has  told  me. 

KENT 
Then  there's  nothing  to  be  said. 

PORTER 
Between  men  who  love  the  same  woman? 

KENT 
Fire  away. 

PORTER 

It's  not  much.  I'm  the  outsider.  But  the  devotion 
of  years  may  claim  the  right  to  ask  something  of  you. 

KENT 
Anything,  of  course,  Tom. 

PORTER 

Make  and  keep  Julia  happy;  else,  don't  do  it,  don't! 
She  is  a  woman  in  a  thousand.  She'll  demand  a  lot. 
Be  sure  you  have  it  to  give. 


THE  ROAD  TOGETHER  181 

KENT 

(He  turns  away  enigmatically) 
And  Dora? 

PORTER 
I'll  always  look  after  her. 

KENT 

(Moved) 
Tom,  I  haven't  been  decent  to  you. 

PORTER 
(Whimsically) 
How  could  you  be  when  you  thought  Julia  loved  me  ? 

KENT 

(Referring  to  room) 
And  all  this? 

PORTER 
Dora  couldn't  have  done  this  alone. 

KENT 
It  was  not  your  place. 

PORTER 

(With  gentle  reproach) 
That's  what  I  thought;  but  you  were  at  Rosemoor. 

KENT 
I  was  trying  to  solve  a  problem. 


i82  THE  ROAD  TOGETHER 

PORTER 
Dora  has  worked  out  hers. 

KENT 
She  hasn't  a  regret? 

PORTER 
She  hasn't  shed  a  tear — that  we've  seen. 

KENT 

(Noticing  time-tables) 
She's  going  West? 

PORTER 

Immediately.  You'll  see  that  your  end  is  done.  Ac 
cept  service  and  better  be  represented  by  counsel. 
Saves  future  complications  if  there  ever  should  be 
children. 

KENT 

Children!     (As  though  to  himself)  I  wonder  how  it 

would  have  been  if  Dora  and  I  had ?     (He  puts 

the  thought  aside)  She's  going  to  take  that  trip  alone? 

PORTER 

Got  word  to-day  that  some  mining  interests  would 
need  my  attention  for  six  or  seven  months,  so  I 
thought (KENT  puts  his  hands  impulsively  on 


THE  ROAD  TOGETHER  183 

PORTER'S  shoulders  in  thanks)  Don't  thank  me.     I've 
got  a  deal  on  that  will  clear  up  a  small  fortune. 

KENT 

Money!  That's  so.  They've  finished  me,  haven't 
they? 

PORTER 
Done  up  brown. 

KENT 
Without  a  crust,  eh  ? 

PORTER 

Well,  quite  by  accident  a  little  bit  flew  off  in  the 
baking.  (KENT  questions)  I  suspected  trouble;  so 
I  got  Biddle  to  let  me  in  at  a  low  price.  I  believe 
your  brokers  managed  to  save  a  few  thousand  for  you. 
They'll  keep  silent,  too.  It  will  help  you  turn  around. 
And,  Wallace,  I  believe  there's  a  chance  for  a  little 
capital  in  this  copper  deal  I'm 

KENT 

( With  determination ) 

No,  Tom.  I  pay  off  every  cent  here :  her  debts  and 
mine  with  what  I  can  make  in  practice.  Then  I  begin 
clean. 

PORTER 
So  law's  cleaner  than  copper,  eh? 


1 84  THE  ROAD  TOGETHER 

KENT 

The  first  step  is  to  get  this  over.     It's  almost  in 
credible,  after  ten  years. 

PORTER 
(Quickly} 

Don't  look  back ;  memories  are  nasty  things  to  bring 
a  second  wife. 

KENT 
What  makes  you  say  that? 

PORTER 
I  never  had  one  of  those  luxuries,  but  I  know  Julia. 

KENT 

Strange;   you   should   say   that,    too.      (He   turns) 
Where's  Dora? 

PORTER 

With  Armor;  he  stopped  on  the  way  to  see  Julia  off. 
(Closer)   Do  it  decently. 

KENT 

(Evasively) 
I  want  to  see  Dora.    I'll  wait  till  we  are  alone. 

PORTER 
(Puzzled) 
But  what  are  your  plans? 


THE  ROAD  TOGETHER  185 

KENT 
I'll  tell  you  later. 

PORTER 

(Taking   his   hand) 
What's  the  trouble? 

KENT 

I'm  suffering,  Tom. 

(KENT  controls  himself  and  goes  off  quickly 
toivards  the  library.) 

PORTER 

Not  happy  with  Julia  in  reach!     The  men  are  just 
as  hard  to  understand  as  the  women. 

(DEERING  re-enters,  opening  doors  and  talking 
cheerfully.  \VooDS  passes  in  back  of  them  and 
goes  to  the  main  door.  DORA  also  comes 
down.) 

DEERING 
What's  the  matter,  Mr.  Porter? 

PORTER 

Matter?     Nothing.     Don't  ask  any  questions  but 
when  you  get  off  by  yourself  will  you  swear  for  me? 

DEERING 

Certainly;  I  will  now. 

(WOODS  re-enters.) 


1 86  THE  ROAD  TOGETHER 

WOODS 
Miss  Deering. 

DEERING 
(Looks  at  watch) 

I've  got  to  hustle. 

(JULIA  enters,  dressed  for  traveling.  She,  too, 
is  halted  by  the  appearance  of  the  room.  Her 
manner  throughout  is  calm  and  firm  in  contrast 
to  the  previous  act.  WOODS  goes  off  in  back, 
closing  doors.  DORA  watches  JULIA.) 

JULIA 
You're  going  to  see  me  off,  Tom? 

PORTER 
One  of  the  specialties  I  do  best. 

JULIA 

(Looking  at  DORA  slowly) 
I've  come  to  see  Dora  alone. 

DEERING 
I'll  go  look  after  the  trunks. 

PORTER 
I'll  go  along  with  you. 


THE  ROAD  TOGETHER  187 

DEERIXG 

Do.  Blew  myself  to  a  cab.  See  you  later,  Mrs. 
Kent. 

(He   goes    off.     JULIA    detains   TOM;  -DoRA 
looks  out  of  window.) 

JULIA 

Tom,  I've  written  you  a  long  letter.  ( Takes  it 
from  her  pocket-book  and  gives  it  to  him)  Will  you 
read  it  to-night? 

PORTER 
(Moved) 
I've  always  waited  to  be  alone  to  read  your  letters. 

JULIA 
This  one  will  explain. 

PORTER 

You  need  explain  nothing.  The  world  is  full  of 
people  who  are  left  behind. 

JULIA 

But  you  see  I  haven't  quite  forgotten  the  Rock  of 
Ages. 

PORTER 
May  I  add  some  flowers  to  your  luggage? 


1 88  THE  ROAD  TOGETHER 

JULIA 

No,  no.  No  flowers  now.  (Smiling  sadly)  It  will 
never  be  good-bye  between  you  and  me.  Just  give  me 
a  handshake  and  some  strength — for  a  little  while. 

PORTER 

Maybe  I  need  all  I  have  of  that.  I'm  too  old  a  dog 
to  hope  for  myself.  (Whimsically)  I — I  hope  you 
will  be  very  happy. 

JULIA 

4  Quietly  happy,'  you  said.  Yes,  I  shall  be  that  in 
time,  Tom. 

PORTER 

I'll  be  back,  Dora.  Rock  of  Ages!  Hump!  Guess 
I'll  incorporate  myself  and  sell  shares! 

(He  goes  out  quickly,  trying  to  conceal  his  emo 
tion.  The  two  women  face  each  other.  The 
following  played  very  quietly.) 

DORA 
Julia,  you're  sailing  alone? 

JULIA 
Yes,  alone. 

DORA 
It's  best  that  Wallace  sail  later,  of  course. 


THE  ROAD  TOGETHER  189 

JULIA 
He  won't  follow  me. 

DORA 
Then  you  find  you  don't  love  him  enough? 

JULIA 
It  isn't  that. 

DORA 
But,  Wallace? 

JULIA 
I  have  tried  to  make  him  understand. 

DORA 
I  don't.     Does  he? 

JULIA 
Men  see  some  facts  slowly. 

DORA 
It's  because  of  me? 

JULIA 
Yes. 


DORA 

(Firmly) 


It  is  useless. 


i go  THE  ROAD  TOGETHER 

JULIA 
That  cannot  alter  me. 

DORA 
He  knows  my  part  in  his  life  is  finished. 

JULIA 
Except  what  has  been  between  you. 

DORA 

Ah!  You  feel  that,  too.  (Poignantly)  Isn't  it  in 
my  power  to  give  him  happiness  even  through  stepping 
aside  ? 

JULIA 
Can  a  mere  word  cut  you  out  of  his  life? 

DORA 
You  fill  his  heart. 

JULIA 

Do  I?  A  heart  is  such  a  little  thing.  It's  I  who 
wish  him  happiness,  more  than  anything  else  in  the 
world. 

DORA 
Away  from  you? 

JULIA 

It  could  not  be  together.  He  may  have  a  chance 
otherwise. 


THE  ROAD  TOGETHER  191 

DORA 
(Firmly) 
He  must  live  alone. 

JULIA 

Better  that  than  what  would  happen  to  me.  I've 
learned  much  about  myself  and  this  problem  of  mar 
riage  in  the  hour  since  we  three  were  together.  I 
have  gained  a  clear  insight  into  what  I  must  do. 

DORA 

Which  is? 

JULIA 
(Firmly) 
To  leave  him. 

DORA 

(Slowly) 
How   calmly   you   say   that. 

JULIA 
There  has  been  and  will  be  enough  of  the  other  thing. 

DORA 

And  this  is  Julia  Deering! 

JULIA 
The  real  Julia. 


192  THE  ROAD  TOGETHER 

DORA 
You're  sacrificing  the  man  you  love  uselessly. 

JULIA 

No;  if  I  were  to  marry  him  you'd  be  in  the  room 
watching.  You  would  always  be  between  us.  He 
would  never  be  entirely  mine.  You  belong  to  one 
another. 

DORA 
By  what  right — now? 

JULIA 
By  the  right  of  ten  long  years. 

DORA 

(Repeating) 
Ten  long  years. 

JULIA 

Listen,  Dora.  Because  he  was  unattainable  he  filled 
my  thoughts;  yet  when  he  came  to  me  I  saw  clearly 
what  all  the  years  of  thought  unconsciously  had  done. 
They  had  bound  you  to  him  in  my  eyes;  always  the 
thought  of  him  had  been  also  the  thought  of  you,  be 
cause  you  two  were  man  and  wife  and  I  was  the  out 
sider. 

DORA 
Not  that,  Julia,  if  he  loved  you. 


THE  ROAD  TOGETHER  193 

JULIA 

To  think  of  Julia  Deering  ever  seeing  that  pas 
sion,  after  all,  is  only  crisis — all  crisis;  but  that  the 
habit  of  living  together  becomes  a  state  of  mind. 

DORA 

(Half  to   herself) 
Habit!     Tom  said 

JULIA 

Dora,  I've  lived  with  the  thought  of  Wallace  but 
you  have  lived  with  the  man.  You  said  it  all  that  day 
in  a  few  words.  You've  shared  the  daily  habit  of 
living;  you've  walked  beside  him;  he's  held  your  hand; 
you've  eaten  at  the  same  table;  moved  in  the  same 
room;  sat  by  each  other's  bed  in  illness  and  shared  the 
hidden  intimacies  while  I  lay  in  the  night  alone.  And 
then  his  work.  I  could  never  be  part  of  that.  It  isn't 
my  sort.  This  all  means  something  more  than  what 
he  and  I  may  have  felt  for  each  other. 

DORA 
But  aren't  you  big  enough  to  forget  all  this  ? 

JULIA 

It  isn't  my  jealousy  that  makes  it  impossible  between 
Wallace  and  me.  It's  what  you  unconsciously  made 
me  realize:  that  there's  a  bond  between  you  two;  the 
bond  of  most  nowaday  marriages.  It's  not  made  by 
passion  nor  even  complete  understanding;  but  by  habit. 


194  THE  ROAD  TOGETHER 

habit:  that  mechanical,  ordinary,  day-to-day,  bond  of 
marriage. 

DORA 

The  daily  habit  of  living!  I  thought  only  those 
who  were  married  knew  how  strong  that  is. 

JULIA 
I  know  it — now. 

DORA 

So  you  have  come  to  see  that  marriage  is  just  walk 
ing  along  the  road  together — if  the  comrade  is  kind 
and  understands  a  little. 

JULIA 
Yes. 

DORA 

But  we  did  not  understand  each  other  at  all.  So 
it's  impossible  between  Wallace  and  me. 

JULIA 

Other  women  might  honestly  have  solved  it  dif 
ferently.  I'm  only  telling  why  I'm  going  away. 

DORA 
Too  bad,  Julia;  for  I  am  leaving  him,  too. 

JULIA 
Think  it  over. 


THE  ROAD  TOGETHER  195 

DORA 

I  have — after  what  he  called  me.  (Shuddering) 
Oh,  it  shames  me  every  time  I  think  of  it. 

JULIA 
You  are  obstinate. 

DORA 

It's  what  some  women  have  in  place  of  strength. 
(Half  scornfully)  Did  he  send  you  to  plead  with  me 
to  live  with  him  again? 

JULIA 
I  don't  believe  even  he  would  ask  that. 

DORA 
Then  he  does  understand  me — a  little. 

JULIA 
Good-bye  now.    I  must  go  while  I  am  still  as  I  am. 

DORA 

I  called  you  weak.  (Goes  to  her)  Julia!  Forgive 
me.  I  don't  blame  you.  All  we  can  do  is  what  we 
see  is  right. 

JULIA 

(Drawing  back) 
No,  don't  kiss  me,  Dora. 


1 96  THE  ROAD  TOGETHER 

DORA 
(Keenly) 
I  ask  no  questions  about  these  ten  days. 

JULIA 
You  would  not  believe  any  answer  I  gave. 

DORA 

No ;  for  I  know,  if  necessary,  a  woman  would  always 
lie  about  some  matters. 

( JULIA  turns  as  WALLACE  KENT  enters  with 
a  letter  in  hand.  He  is  surprised  at  seeing 
JULIA.) 

JULIA 

No  words,  Wallace.  Good-bye.  I'll  never  regret 
unless  you  fail  to  take  life  by  the  throat.  Good-bye, 
Dora.  Remember  me  a  little,  Wallace,  as  one  who 
will  be  '  quietly  happy.' 

(JuLlA  goes  out,  hastily  controlling  herself. 
KENT  sits  down  with  head  bowed.) 

DORA 

At  least  your  memory  will  be  worthy.  I'm  sorry, 
Wallace. 

(She  goes  and  puts  her  hands  sympathetically 
on  his  shoulder.  Her  eye  falls  on  the  letter.) 

KENT 
My  letter  of  resignation.    It  was  not  mailed  ? 


THE  ROAD  TOGETHER  197 

DORA 

No.  I  thought  it  might  be  merely  an  impulse.  Be 
sides  it  wasn't  right  for  you  to  retire  at  this  time  when 
that  Railroad  case  was 

KENT 
You  thought  of  that  ? 

DORA 

Your  term  has  only  a  few  months  more  to  run. 
Finish  it;  it  will  protect  you  from  criticism  in  the 
future. 

KENT 
It  was  good  of  you. 

DORA 

I  felt  once  this  career  was  partly  mine;  I  did  not 
like  to  see  you  throw  it  away  uselessly  because  two 
women  touched  your  life. 

KENT 

I  suppose  the  strongest  men  brush  women  aside. 

DORA 

The  strongest  men  should  when  woman's  emotions 
interfere. 

KENT 

This  sha'n't  hurt  me.  Work,  not  sentiment,  is  the 
normal  man's  life. 


ig8  THE  ROAD  TOGETHER 

DORA 

I'm  so  glad  you  see  that.  You'll  get  hold  of  your 
self  now.  I've  been  the  hindrance ;  my  dependence  must 
have  dragged  you  back.  You  will  soon  be  free  of  me. 

KENT 

(Looking  at  her) 
But  where  will  you  go  after ? 

DORA 
I  haven't  looked  so  far  ahead. 

KENT 
You  must. 

DORA 

I'm  thinking  first  what's  best  for  you ;  and  after 
what  you  said  that  day,  I  know. 

KENT 
I  was  cruel. 

DORA 

(With   deep  conviction) 

No,  you  were  right.  It  was  an  insult  for  me  to 
stay  merely  because  I  feared  you'd  go  to  pieces.  But  I 
saw  it  that  way  at  the  time. 

KENT 

Dora,  I  understand  better  now.  Before  you  leave 
I  hope  you'll  forget  what  I  said. 


THE  ROAD  TOGETHER  199 

DORA 

We  are  both  learning  to  understand  each  other  at  the 
end.  It  might  have  been  better  had  there  been  truth 
between  us. 

(WOODS  enters.) 

WOODS 
Pardon  me,  Mr.  Kent,  but  the  men 

KENT 

What  men? 

DORA 

The  movers.  Better  let  them  begin  in  the  other 
room,  Woods.  ( WOODS  goes  out)  Tom  thought  it 
best  to  put  everything  in  storage  first ;  it  will  save  com 
ment.  I've  given  the  china  and  glasses  to  Armor. 
There  are  some  things  to  divide.  We  must  go  over 
them. 

KENT 
Now? 

DORA 

They  are  mostly  upstairs.  The  linen  and  all  that 
sort  I  have  given  to  Woods.  Your  books  are  packed 
separately.  You'll  direct  where  to  send  them. 
(Takes  loving-cup  from  piano)  Woods  came  across 
this  cup  your  fraternity  gave  us  when  we  \vere  married. 
(Half  smiling)  I  don't  know  who  owns  it. 


200  THE  ROAD  TOGETHER 

KENT 

(Reading  inscription) 

11  To  Wallace  Kent  and  Dora  Houston,  with  all 
best  wishes  for  your  happiness." — This  will  be  the 
first  time  in  ten  years  we've  not  drunk  a  toast  on  our 
anniversary. 

DORA 
What  foolish  sentiments  one  has  at  the  beginning. 

KENT 
How  can  you  talk  like  that? 

DORA 

Because  it  seems  to  symbolize  the  irony  of  our  mar 
riage. 

KENT 

No ;  the  habit  and  community  of  interests. 

(The  men  are  heard  passing  off  back  with  fur 
niture  as  KENT  stands  looking  at  cup.  DORA 
has  crossed  and  speaks  off.) 

DORA 

Be  careful,  don't  scratch  that  table.  (Turning) 
What  difference  does  it  make?  (She  sees  him  sitting 
there)  Put  it  away,  Wallace.  It's  over. 

KENT 
Dora,  for  God's  sake,  don't. 


THE  ROAD  TOGETHER  201 

DORA 

It's  not  easy,  Wallace;  but  it  must  be  gone  through 
with. 

KENT 

Must  it?  Dora,  I  couldn't  get  away  from  the 
thought  of  your  living  alone. 

DORA 
You  must. 

KENT 

But  it's  not  Tom's  place  to  help  you ;  it's  mine,  if 
you'll  let  me. 

DORA 
All  you  can  do  is  to  make  it  easier  for  me  now. 

KENT 
Dora,  we've  only  got  each  other.    We're  both  alone. 

DORA 

Yes,  alone.  (Controlling  herself)  But  let's  look  it 
in  the  face.  It's  good-bye,  Wallace,  good-bye.  We're 
saying  good-bye  here  in  this  house  we've  lived  in  for  ten 
years.  Don't  let's  look  back 

KENT 

But  all  life  is  looking  back,  Dora.  Is  this  necessary 
now?  What  do  we  gain  by  living  apart?  What  vic 
tory  do  we  bring  ourselves? 


202  THE  ROAD  TOGETHER 

DORA 
We  test  our  strength  and 

KENT 

But  we  are  two  human  beings,  Dora.  And  that 
means  we  are  both  strength  and  weakness. 

DORA 

I'm  thinking  of  you,  Wallace.  I  can  be  of  no  fur 
ther  use  to  you. 

KENT 

But  there  is  much  you  can  give  me.  Isn't  there 
something  I  can  give  you?  Haven't  we  learned  to 
understand  each  other  through  all  this?  Dora,  we've 
been  kind  to  each  other  as  people  go ;  we've  got  along 
somehow ;  we  have  more  than  most  people.  Isn't  there 
something  sweet  and  noble  we  can  still  give  each  other? 

DORA 
Would  you  want  me  to  give  everything  as  before? 

KENT 
Live  in  the  same  house  with  me — if  nothing  else. 

DORA 

No,  Wallace.  That's  impossible.  We  are  a  man 
and  a  woman.  Don't  let's  fool  ourselves  as  we  did  each 
other. 


THE  ROAD  TOGETHER  203 

KENT 

I  can't  demand.  You  have  the  right  to  go  and  if 
you  feel  it  is  for  your  good,  go.  I'll  not  hinder  you. 
But  I  wish  you'd  stay  and  go  along  with  me — together. 

DORA 
To  walk  along  the  road  together  ? 

KENT 
Yes.    That's  what  I  ask.    Won't  you? 

DORA 

(Thoughtfully) 
And  this  is  marriage! 

KENT 

As  we  have  worked  it  out. 

DORA 
I  thought  it  could  have  been  something  greater! 

KENT 
So  did  I ;  but  it  lay  only  in  what  we  were. 

DORA 

Yes,  that's  it;  and  what  we  are.  (With  a  look  of 
hope)  And  what  we  can  still  make  it.  Wallace,  I  do 
feel  helpless  by  myself;  I  am  afraid  of  the  loneliness. 
My  heart  goes  out  to  you  because  of  what  we've  had. 
My  heart  perhaps  is  waiting  for  yours 


204  THE  ROAD  TOGETHER 

KENT 
You  will  stay? 

DORA 
Yes,  if 

KENT 
If? 

DORA 
If  you  just  let  me  cry.     I  want  so  to  cry. 

(She  bows  her  head.  He  puts  his  hand  upon 
her,  as  she  sobs  quietly.  He  soothes  her  ten 
derly.  The  bright  sunlight  floods  the  dis 
mantled  room.) 

CURTAIN 


"I  have  carefully  studied  the  plays  of  George  Middleton  and  admire  not 
onJy  his  technical  dexterity  but  also  his  sympathetic  characterization.  Tech 
nically  speaking,  he  can  give  cards  and  spades  to  many  successful  diama- 
tists.  .  .  1  can  answer  for  their  readable  quality." — Jama  Hunger, 
Author  oj  Egoists.  Iconoclasts,  etc. 

GEORGE  MIDDLETON'S   NOWADAYS 
A  Three  Act  Comedy  of  American  Life.     $1.00  net. 

"  Nowadays  is  notable  not  only  as  a  sane  and  veracious  study  of  con 
temporary  life,  but  for  dramatic  qualities  which  ought  to  make  it  valuable 
in  the  theatre.  Dealing  with  the  relations  of  the  sexes,  and  making  a  strong 
and  effective  plea  for  a  more  equal  partnership  for  woman  in  the  opportun 
ities  and  responsibilities  of  life,  it  shows  a  philosophic  realization  of  the 
limitations  imposed  by  nature  and  the  hard  facts  of  existence.  The  story, 
free  from  all  sensationalism  or  extravagance,  is  strong  in  the  naturalness  of 
its  situations  and  the  vitality  of  its  contrasted  personages." — N.  Y.  Even 
ing  Post. 

"George  Middleton's  Nowadays,  in  which  the  very  fibre  of  American 
character  is  woven  into  the  substance  of  its  theme,  has  done  more  than  any 
thing  else  to  raise  the  art  to  the  level  of  production  which  characterizes  the 
dramatic  literature  in  England  and  on  the  Continent." — Boston  Transcript. 

'  The  first  strong  impression  made  by  Mr.  Middleton's  work  is  the  elastic 
breadth  of  view.  We  have  many  men  to-day  writing  on  Feminism  in  some 
of  its  phases;  few  indeed  who  can  understand  and  express  so  many.  He 
shows  a  broad  vision.  His  playi  should  interest  thinking  women  every 
where  and  should  make  men  think." — Charlotte  Perfon*  Gilman  in 
The  Forerunner. 

"A  striking  drama  of  the  present  moment  and  of  real  people." — Tke 
Independent.  "The  spirit  of  the  twentieth  century  is  in  his  plays;  also  a 
spirit  of  justice  and  generosity  towards  women." — Alice  Stone  Blacfywell  in 
Woman's  Journal.  "Mr.  Middleton's  contribution  to  the  growing  body 
of  American  dramatic  literature  is  distinguished  by  its  earnest  realism,  its 
sanity  and  its  high  good  humor." — Current  Opinion.  "  The  play  appeals 
throughout.  It  is  absolutely  honest  with  its  theme.  Work  so  sincere  and 
skillful  should  find  many  readers." — Prof.  Richard  Burton  in  The  Bellman. 
"Mr.  Middleton  has  tagged  his  play  a  comedy,  but  it  remains  a  little  tragedy 
for  all  that,  to  people  who  like  to  think." — Edna  Kenton  in  Chicago  Even 
ing  Post.  ' '  Nowadays  is  the  most  significant  contribution  in  drama  to  the 
interpretation  of  the  woman's  movement  in  America." — Percy  Macfyaye. 
"Steadily  interesting  and  entirely  human." — The  Nation.  "The  work 
well  deserves  publication." — Westminster  Gazette.  "A  good  comedy." — 
'Detroit  Free  Press.  "The  play  is  well  built,  the  dialogue  natural  and 
pointed." — Arthur  Ruhl  in  N.  Y.  Tribune.  "The  comedy  is  a  mirror 
reflecting  in  an  admirably  organized  production  a  vitally  significant  phase  of 
modern  life." — Washington  Star.  "It  you  want  a  sane,  attractive  defin 
ition  of  Feminism,  read  Nowadays." — N.  Y.  Qlobe. 

HENRY HOLT AND COMPANY 

PUBLISHERS  NEW  YORK 


"The  plays  are  admirable;  the  conversations  have  the  true  style  of 
human  speech,  and  show  first-rate  economy  of  words,  every  syllable  advancing 
the  plot.  The  little  dramas  are  full  of  cerebration,  and  I  shall  recommend 
them  in  my  public  lectures." — Prof.  William Ly on  *P helps,  Yale  University . 

GEORGE  MIDDLETON'S  EMBERS 

And  The  Failures,  The  Gargoyle,  In  His  House,  Madonna,  and 
The  Man  Masterful. 

$1.35  net;  by  mail,  $1.44 

"  AH  are  clear  concise  dynamic,  suggesting  drama  rather  than  revealing 
it,  the  language  simple,  the  structure  excellent,  the  characterization  vivid. " — 
Chicago  Record  Herald.  

EMBERS:  "This  is  a  tender  and  inspiring  piece,  somewhat  akin  to 
Gilbert's  "  Sweethearts "  and  Howard 's  "  Old  Love  Letters." — 
Nation.  "  By  far  the  best  .  .  .  the  interpretation  of  American 
middle  age  is  certainly  searching  and  realistic." — Living  j4ge. 

THE  FAILURES :  "  It  is  written  with  a  tensity  of  submerged  move 
ment." — Springfield  Republican.  "Is  somberly  true,  direct  and 
vital." — Chicago  Evening  Post.  "Full  of  genuine  insight." — 
Archibald  Henderson  in  North  Carolina  Review. 

THE  GARGOYLE:  "  The  cleverest,  certainly  the  subtlest  .  .  .the 
scene  between  the  two  men  is  absorbing  and  the  outcome  unexpected." 
— 5/.  Paul  Pioneer  Press.  "A  curious  conceit  very  ingeniously  and 
and  somewhat  plausibly  treated." — Nation. 

IN  HIS  HOUSE :  "  Is  prodigious  .  .  .  with  unexpected  logical 
reaction." — Chicago  Evening  Post.  "We  have  the  elements  of  a 
stupendous  tragedy,  powerfully,  tensely  written." — Los  Angeles  Times. 

MADONNA  :  "  Here  a  difficult  subject  is  treated  with  exceeding  deli 
cacy  and  touches  of  simple  patience." — Nation.  "  Will  appeal  to 
every  sensitive  spirit." — Richard  Burton  in  (Bellman.  "  Is  the  most 
exquisite  brief  study  of  delicate  maidenly  modesty  on  the  brink  of 
marriage  that  has  come  to  my  knowledge." — Los  Angeles  *fjimes. 
"  Madonna  I  especially  liked  for  its  creating  an  atmosphere  and  its 
lovely  reticence." — Walter  P.  fiaton.  "  It  was  received  with  re 
markable  appreciation — it  belongs  to  the  small  class  of  those  written  by 
specialists  in  emotion  for  sensitive  people.  There  is  something  ex 
quisite  about  it." — £KCanchester  Guardian,  England. 

THE  MAN  MASTERFUL  :  "  Is  dramatic  writing  at  once  strong  and 
subtle." — Chicago  Evening  'Post.  "Is  the  most  effective  play  in  the 
volume." — St.  Louis  Post  Dispatch. 


HENRY  HOLT, AND  COMPANY 

34  WEST  33d  STREET  NEW  YORK. 


"  Mr.  Middleton's  plays  stand  out  from  the  bulk  of  American  drama  through 
their  literary  quality  and  the  serious  purpose  with  which  they  are  conceived. 
His  is  a  voice  crying  in  the  wilderness  of  clap-trap  makeshifts  hugging  the 
managerial  fancy  —  keen  sense  of  character  and  apparently  instinctive  feeling 
for  the  feminine  point  of  view,  together  with  his  remarkable  faculty  for  seiz 
ing  his  people  at  a  crisis  in  their  lives  and  putting  their  whole  history  before 
us  with  a  few  deft  touches."  —  Brooklyn  Eagle. 

GEORGE  MIDDLETON'S  TRADITION 

and  On  Bail,  Their  Wife,  Waiting,  The   Cheat  of  Pity  and 
Mothers,  $1.35  net;  by  mail  $1.44 

"  All  these  little  pieces  are  admirable  in  technique  :  they  are  soundly  con 
structed  and  written  in  natural  and  lucid  dialogue.  He  reveals  at  every 
point  the  aptness  of  the  practised  playright  —  this  tribute  must  be  paid  to  an 
author  who  has  dared  to  analyze  in  many  moods  the  diverse  and  fluctuating 
personality  of  the  woman  of  today  —  he  has  sounded  to  the  depths  the  souls 
of  those  eccentric  and  extraordinary  women  whom  he  has  chosen  to  depict." 
—  Clayton  Hamilton  in  the 


"He  reveals  a  knowledge  of  the  feminine  heart  and  character  and  a  sym 
pathy  with  feminine  ideals  that  is  unusual  in  one  of  the  opposite  sex.  Mr. 
Middleton  seems  on  intimate  terms  with  them  all  and  his  gallery  of  contempo 
rary  portraits  of  women  is  complete.  Women  who  want  to  understand  them 
selves  should  take  a  look  at  Tradition  :  what  they  see  there  will,  on  the 
whole,  be  flattering.  In  tact,  the  modern  independence  seeking,  own  think 
ing  woman  has  not  found  a  more  sympathetic  and  understanding  friend 
than  the  author  of  Tradition.  The  workmanship  of  these  plays  is  about  as 
perfect  as  could  be  —  which  means  they  are  most  agreeable  to  read."  — 
New  York  Globe. 

"  In  all  of  these  plays  the  conversation  is  tense  and  suggestive.  They  are 
eminently  actable  and  are  well  adapted  for  reading."  —  Boston  Evening 
Transcript. 

"  These  little  plays  are  concentrated  drama,  easy  to  read  and  visualize, 
thoughtful  as  to  theme  and  powerful  in  suggestiveness."  —  Review  of  Reviews. 

"  Mr.  Middleton's  plays  furnish  interesting  reading.  The  author  deserves 
praise  for  his  skill  and  conscientious  workmanship  —  succeeds  admirably  as 
a  chronicler  of  striking  events  and  as  an  interpreter  of  exceptional  people 
in  exceptional  circumstances."  —  New  York  Times. 

"  The  chief  advantage  of  his  method  is  its  absolute  sincerity  and  realism. 
The  real  drama  of  a  life  time  is  revealed.  They  are  a  real  contribution  to 
the  stage  of  today."  —  Phila.  Public  Ledger. 


HENRY      HOLT      AND      COMPANY 
PUBLISHERS  NEW  YORK 


"One  feels  the  play  of  great  repressed  emotional  forces.  In  the  presenta 
tion  of  such  essentially  intimate  studies,  he  succeeds  with  a  remarkable 
economy  of  means,  and  Possession  well  keeps  up  the  standard  set  by 
Embers  and  Tradition. ' ' —  The  Independent. 

GEORGE  MIDDLETON'S  POSSESSION 

and  The  Groove,  A  Good  Woman,  The  Black  Tie, 
Circles,  The  Unborn 

$1.35  net 

"Brief,  tense,  filled  with  an  understanding  sympathy  for  woman  herself 
and  for  her  curious  and  complex  situation  in  the  world  to-day,  these  six 
plays  make  unusually  good  reading.  So  clearly  are  characters,  crises,  and 
backgrounds  expressed  that  the  whole  is  easily  visualized.  ...  In  all 
the  plays  the  author  has  been  satisfyingly  successful  in  writing  a  complete 
thing,  not  a  fragment  of  something  longer.  People  living  in  the  world  as 
we  know  it  are  shown  to  us  at  some  moment  when  the  stress  of  life  brings 
them  into  their  supreme  dramatic  crisis.  .  .  .  You  see  into  their  hearts, 
into  which  they  too  are  looking,  be  it  for  good  or  evil.  .  .  .  Each 
play  is  an  excellent  bit  of  workmanship — short  as  they  are,  the  whole  story 
is  there,  with  elbow  room  about  it.  ...  Mr.  Middleton's  outlook  on 
life,  his  conceptions  of  the  relations  of  men  and  women  to  each  other  and 
to  society  is  a  fine  one,  generous  and  tolerant,  but  not  sentimental,  and  not 
in  the  least  leaning  towards  that  license  which  is  a  negation  of  real  freedom. 
.  .  .  No  one  else  is  doing  his  kind  of  work  and  his  books  should  not 
be  missed  by  readers  looking  for  a  striking  presentation  of  the  stuff  that  life 
is  made  of."  .  .  .  Ntw  York  Times. 

"As  an  example  of  a  dramatist  with  a  reading  public  George  Middleton 
is  practically  unique.  A  minor  reason  for  his  success  lies  in  their  technical 
excellence,  good  dialogue,  good  characterization  and  cumulative  interest.  A 
major  reason  is  his  adroitness  in  seizing  at  the  full  tide  the  subjects  in  which 
the  thinking  world  seems  at  present  engrossed." — Chicago  Evening  Post. 

"  He  is  distinctly  a  play-maker  of  serious  purpose  and  honorable  achieve 
ment,  and  I  have  no  doubt  that  one  day  he  will  come  into  his  own  in  the 
theatre."  .  .  .  H.  L.  Mencken,  of  Baltimore  Sun. 

"  Mr.  Middleton's  favorite  subject  is  a  struggle  between  a  woman  who  is 
ahead  of  the  times  and  an  environment  that  is  behind  the  times ;  and  his 
plays  are  equally  interesting  to  those  who  sympathize  with  his  advanced 
women  and  to  those  who  sympathize  with  the  older-fashioned  people  who 
surround  them." — The  Bookman. 

"  He  is  in  earnest,  and  he  always  tries  to  choose  subjects  of  importance. 
As  our  soul  prophet  of  the  one-act  play,  his  importance  is  real  for  he  is  both 
an  experienced  and  idealistic  playwright." — Chicago  Tribune. 

"They  (his  women)  are  real,  actuated  by  the  irrational  and  indefensible, 
but  somehow  logical  courses  that  impel  mankind  in  its  perpetual  blunder- 
ings." — Springfield  Republican. 

HENRY HOLT AND COMPANY 

PUBLISHERS  NEW  YORK 


BY  CLAYTON  HAMILTON 
STUDIES  IN  STAGECRAFT 

CONTENTS:  The  New  Art  of  Making  Plays,  The  Pictorial 
Stage,  The  Drama  of  Illusion,  The  Modern  Art  of  Stage 
Direction,  A  Plea  for  a  New  Type  of  Play,  The  Undramatic 
Drama,  The  Value  of  Stage  Conventions,  The  Supernatural 
Drama,  The  Irish  National  Theatre,  The  Personality  of  the 
Playwright,  Where  to  Begin  a  Play,  Continuity  of  Structure, 
Rhythm  and  Tempo,  The  Plays  of  Yesteryear,  A  New  De 
fense  of  Melodrama,  The  Art  of  the  Moving-Picture  Play, 
The  One-Act  Play  in  America,  Organizing  an  Audience,  The 
Function  of  Dramatic  Criticism,  etc.,  etc.  $1.50  net 

Nation:  "Information,  alertness,  coolness,  sanity  and  the  command 
of  a  forceful  and  pointed  English.  ...  A  good  book,  in  spite  of 
all  deductions." 

Prof.  Archibald  Henderson,  in  The  Drama:  "Uniformly  excellent  in 
quality.  .  .  .  Continuously  interesting  in  presentation  .  .  . 
uniform  for  high  excellence  and  elevated  standards.  .  .  ." 

Athenaeum  (London} :  ''His  discussions,  though  incomplete,  are 
sufficiently  provocative  of  thought  to  be  well  worth  reading." 

THE  THEORY  OF  THE  THEATRE 

THE  THEORY  OF  THE  THEATRE.— What  is  a  Play?— The 
Psychology  of  Theatre  Audiences. — The  Actor  ard  the  Dra 
matist. — Stage  Conventions  in  Modern  Times. — The  Four 
Leading  Types  of  Drama :  Tragedy  and  Melodrama ;  Comedy 
and  Farce. — The  Modern  Social  Drama,  etc.,  etc. 

OTHER  PRINCIPLES  OF  DRAMATIC  CRITICISM. — The  Public 
and  the  Dramatist. — Dramatic  Art  and  the  Theatre  Business. 
— Dramatic  Literature  and  Theatric  Journalism. — The  Inten 
tion  of  Performance. — The  Quality  of  New  Endeavor. — 
Pleasant  and  Unpleasant  Plays. — Themes  in  the  Theatre. — 
The  Function  of  Imagination,  etc.,  etc.  4th  printing.  $1.50  net. 

Bookman:  "Presents  coherently  a  more  substantial  body  of  idea  on 
the  subject  than  perhaps  elsewhere  accessible." 

Boston  Transcript:  "At  every  moment  of  his  discussion  he  has  a 
firm  grasp  upon  every  phase  of  the  subject." 


THE  GERMAN  DRAMA  OF  THE  NINETEENTH  CENTURY 

By  GEORG  WITKOWSKI.    Translated  by  PROF.  L.  E.  HORNING. 

Kleist,  Grillparzer,  Hebbel,  Ludwig,  Wildenbruch,  Sudermann,  Haupt- 
mann  and  minor  dramatists  receive  attention.  12mo.  $1.00. 

New  York  Times  Review:  "The  translation  of  this  brief,  clear  and 
logical  account  was  an  extremely  happy  idea.  Nothing  at  the  same  time 
so  comprehensive  and  terse  has  appeared  on  the  subject." 

HENRY      HOLT     AND      COMPANY 

PUBLISHERS  NEW  YORK 


Fanny  Cannon's  WRITING  AND  SELLING  A  PLAY 

Probably  the  most  common-sense  and  practical  book  on 
its  subject,  which  the  author  knows  from  the  inside  as 
actress,  manageress,  playwright,  and  "play-doctor."  She 
was  for  years  Vice-President  of  The  Actors'  Society  of 
America. 

This  book  warns  the  writer  of  the  many  "breaks"  that 
cause  rejection,  gives  detailed  constructive  advice,  tells 
him  how  to  look  out  for  his  rights,  includes  a  model  con 
tract,  two  detailed  scenarios,  and  a  bibliography  of  refer 
ence  books  and  plays.  I2mo.  With  full  index.  $1.50  net, 

Hartford  Courant:  ".  .  .  this  rare  book  ...  the  author  has 
the  lessons  she  would  convey  at  tongue's  end  and  in  orderly 
brain  arrangement.  .  .  .  She  teaches  so  lucidly  and  with  per 
sonal  fascination.  .  .  ." 

Providence  Journal:  ".  .  .  ought  to  do  real  good.  The  au 
thor  not  only  has  practical  experience,  she  has  a  genuine  artistic 
as  well  as  common  sense.  .  .  .  One  may  conscientiously  recom 
mend  it  as  fulfilling  its  purpose  admirably." 

Archibald  Hendersons  THE  CHANGING  DRAMA 

By  the  author  of  George  Bernard  Shaw:  His  Life  and  Works, 
European  Dramatists,  etc.  321  pp.  i2mo.  $1.50  net. 

It  includes:  Drama  in  the  New  Age;  The  New  Criti 
cism  and  New  Ethics;  Science  and  the  New  Drama; 
Realism  and  the  Pulpit  Stage;  Naturalism  and  the  Free 
Theatre;  The  Battle  with  Illusions;  The  Ancient  Bond 
age  and  the  New  Freedom ;  The  New  Technic ;  The  Play 
and  the  Reader;  The  Newer  Tendencies,  etc. 
Descriptive  circular  with  sample  pages  on  application. 

New  York  Tribune:  ".  .  .  Deserves  the  serious  attention  of 
all  students  of  the  modern  drama.  .  .  .  The  first  adequate  sur 
vey  of  that  drama's  linked  conscious  effort,  the  world  over,  to 
hold  up  the  mirror  to  our  new  consciousness  of  individual  free 
dom  and  of  collective  social  responsibility  for  justice  and  evil 
.  .  .  not  only  the  first  book  in  its  field;  in  the  completeness  of 
its  scope,  the  scholarly,  well-balanced  thoroughness  of  the  treat 
ment  of  its  material,  it  is  likely  to  remain  the  standard  work  as 
well  for  some  time  to  come  .  .  .  one  of  the  small  number  of 
books  on  the  modern  drama  which  the  serious  student  cannot 
afford  to  leave  unread." 

HENRY HOLT AND COMPANY 

PUBLISHERS  NEW  YORK 


BY        BARRETT        H.        CLARK 

THE  CONTINENTAL  DRAMA  OF  TO-DAY 

Outlines  for  Its  Study 

Suggestions,  questions,  biographies,  and  bibliographies 
with  outlines,  of  half  a  dozen  pages  or  less  each,  of  the 
more  important  plays  of  twenty-four  Continental  dram 
atists.  While  intended  to  be  used  in  connection  with  a 
reading  of  the  plays  themselves,  the  book  has  an  inde 
pendent  interest.  I2mo.  $1.50  net. 

Prof.  William  Lyon  Phelps,  of  Yale:  ".  .  .  One  of  the  most 
useful  works  on  the  contemporary  drama.  .  .  .  Extremely  prac 
tical,  full  of  valuable  hints  and  suggestions.  .  .  ." 

BRITISH  fcf  AMERICAN  DRAMA  OF  TO-DAY 

Outlines  for  Its  Study 

Suggestions,  biographies  and  bibliographies,  together 
with  historical  sketches,  for  use  in  connection  with  the 
important  plays  of  Pinero,  Jones,  Wilde,  Shaw,  Barker, 
Hankin,  Chambers,  Davies,  Galsworthy,  Masefield, 
Houghton,  Bennett,  Phillips,  Barrie,  Yeats,  Boyle,  Baker, 
Sowerby,  Francis,  Lady  Gregory,  Synge,  Murray,  Ervine, 
Howard,  Herne,  Thomas,  Gillette,  Fitch,  Moody, 
Mackaye,  Sheldon,  Kenyon,  Walters,  Cohan,  etc.  I2mo. 
$1.50  net. 

THREE  MODERN  PLAYS  FROM  THE  FRENCH 

Lemaitre's  The  Pardon  and  Lavedan's  Prince  D'Aurec, 
translated  by  Barrett  H.  Clark,  with  Donnay's  The 
Other  Danger,  translated  by  Charlotte  Tenney  David, 
with  an  Introduction  to  each  author  by  Barrett  H.  Clark 
and  a  Preface  by  Clayton  Hamilton.  One  volume. 
I2mo.  $1.50  net. 

Springfield  Republican:  "'The  Prince  d'Aurec'  is  one  of  his 
best  and  most  representative  plays.  It  is  a  fine  character  crea 
tion.  .  .  .  'The  Pardon'  must  draw  admiration  for  its  remark 
able  technical  efficiency.  .  .  .  'The  Other  Danger'  is  a  work 
of  remarkable  craftsmanship." 

HENRY    HOLT    AND    COMPANY 
PUBLISHERS  NEW  YORK 


SIXTH  EDITION,    ENLARGED    AND    WITH    PORTRAITS 

HALE'S    DRAMATISTS    OF    TO-DAY 

ROSTAND,     HAUPTMANN,     SUDERMANN, 
PINERO,  SHAW,  PHILLIPS,  MAETERLINCK 

By  PROF.    EDWARD    EVERETT    HALE,  JR.,  of  Union  College. 
With  gilt  top,  $1.50  net;  by  mail,  $1.60. 

Since  this  work  first  appeared  in  1905,  Maeterlinck's  SISTER 
BEATRICE,  THE  BLUE  BIRD  and  MARY  MAGDALENE,  Rostand's 
CHANTECLER  and  Pinero's  MID-CHANNEL  and  THE  THUNDER 
BOLT — among  the  notable  plays  by  some  of  Dr.  Kale's  drama 
tists — have  been  acted  here.  Discussions  of  them  are  added 
to  this  new  edition,  as  are  considerations  of  Bernard  Shaw's 
and  Stephen  Phillips'  latest  plays.  The  author's  papers  on 
Hauptmann  and  Sudermann,  with  slight  additions,  with  his 
"Note  on  Standards  of  Criticism,"  "Our  Idea  of  Tragedy," 
and  an  appendix  of  all  the  plays  of  each  author,  with  dates  of 
their  first  performance  or  publication,  complete  the  volume. 

Bookman:  "  He  writes  in  a  pleasant,  free-and-easy  way.  .  .  .  He 
accepts  things  chiefly  at  their  face  value,  but  he  describes  them  so  ac 
curately  and  agreeably  that  he  recalls  vividly  to  mind  the  plays  we 
have  seen  and  the  pleasure  we  have  found  in  them." 

New  York  Evening  Post :  "  It  is  not  often  nowadays  that  a  theatrical 
b  >ok  can  be  met  with  so  free  from  gush  and  mere  eulogy,  or  so  weighted 
by  common  sense  ...  an  excellent  chronological  appendix  and  full 
index  .  .  .  uncommonly  useful  for  reference." 

Dial:  "  Noteworthy  example  of  literary  criticism  in  one  of  the  most 
interesting  of  literary  fields.  .  .  .  Provides  a  varied  menu  of  the 
most  interesting  character.  .  .  .  Prof.  Hale  establishes  confidential 
relations  with  the  reader  from  the  start.  .  .  .  Very  definite  opinions, 
clearly  reasoned  and  amply  fortified  by  example.  .  .  .  Well  worth 
reading  a  second  time." 

New  York  Tribune  :    "  Both  instructive  and  entertaining." 

Brooklyn  Eagle:  "A  dramatic  critic  who  is  not  just  'busting'  him 
self  with  Titanic  intellectualities,  but  who  is  a  readable  dramatic  critic. 
.  .  .  Mr.  Hale  is  a  modest  and  sensible,  as  well  as  an  acute  and  sound 
critic.  .  .  .  Most  people  will  be  surprised  and  delighted  with  Mr. 
Hale's  simplicity,  perspicuity  and  ingenuousness." 

The  Theatre:  "  A  pleasing  lightness  of  touch.  .  .  .  Very  read 
able  book." 


HENRY     HOLT     AND     COMPANY 

PUBLISHERS  NEW  YORK 


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